What Have Cassettes to do with Christianity? Instagram with Islam?

Perusing the Facebook group “United in Islam in South Africa” one finds a variety of posts that might catch one’s attention. From agriculturally informed exhortations, to charity, to the posting of events in Tshwane/Pretoria, to quotes of Ibn Taymiyyah and other sources the posts on the page are wide in range, source, and influence—some yielding likes and comments, others sitting silent on the page. 

One particularly popular post called for du’a (non-obligatory prayer) to be made for rain in the Gauteng province including Johannesburg. On several days a woman began by saying “Bismillahir Rahmanir Raheem” (“in the name of Allah, most Gracious, most Merciful”) expressing shukr (thanks) and calling for rakaats (units of prayer) in grateful response. The other most popular post on the page shows Syrian refugees seeking asylum in Europe. 

Here, on Facebook, in the digital borderlands, the global and local are meeting as South African Muslims interact with Muslims from across the globe and share media, meditations, and methods of piety online with “likes” and “comments” the affirmations in place of vocal takbirs (informal expressions of faith with the acclamation, “Allahu akbar” or “God is great”). The petitions and posts on the page are predicated by both global concerns and local conditions. As such, this short vignette and case can serve well as a piquing entrée into the digital and electronic media world, which is part of a large religious, social, economic, and political patchwork across Africa.

As intimated by the case above Africa’s religious media scene is rapidly evolving and constantly engaging. The book New Media and Religious Transformations in Africa seeks to cast a critical eye on this area of study and “focus on the diverse religious transformations being generated by the explosion of media technologies—both old and new—across Africa” (p. 5). It is the contention of this review that this text is a helpful primer on the historical and contemporary ways that media—old and new, print and digital—have shaped, are shaped by, and continue to shape religion in Africa.

Welcoming Diversity: A community action forum against Islamophobia & intolerance

*This is an excerpt from a UF Prism magazine article, published by the Honors College at the University of Florida.

With its charming galleries, wide archways, and gorgeous gardens, the historic Thomas Center is one of Gainesville’s gems. On January 20, it transformed into a local forum for speaking out on one of the issues haunting our country: the spread of Islamophobia.

We, Amna Qureshi and Gloria Li, University of Florida freshmen, decided to attend this forum and interview some of the other attendees. The keynote speaker began the event by presenting on the current state of Islamophobia in the United States. Dr. Hatem Bazian, a Berkeley professor in Islamic Studies and Philosophy who flew in to give his talk, told us that his take-home message was very simple. He said, “It is our responsibility to take back civil society, and make a civil society that works for everyone. Because racism negates our ability to build a better society.”

Jesus Christ, Movie Star?

Think religion doesn’t matter at the movies? Think again. More specifically, think of the kerfuffle over the Church of England’s “Lord’s Prayer Commercial” and some of the UK’s biggest cinema chains denying the commercial ad space in its theaters.

As Reuters reported, “The 60-second ad, which shows a variety of Christians including a police officer, weight lifter and school children each saying one line of the prayer, had been due to be shown next month before screenings of the new Star Wars film ‘The Force Awakens.’” 

Not only was the Anglican church confused over the refusal, but social media and blogs erupted with robust conversations about the place of religious ads before movies, on television, and on radio. This scenario of scandal underscores the importance, and urgency, of considering the interaction of religion & pop-culture in its many, many, forms. 

That is why I am overwhelmingly excited to announce the release of Jesus Christ, Movie Star by Edward N. McNulty, in which I was humbled & honored to write the foreword. In that introductory statement I attempted to frame McNulty's work on Jesus and movies in the contemporary context of currents in religion & pop-culture. 

In the foreword I wrote that in a global culture, where internationalization occurs across, through, and in tension with various sites and conduits of ethnicity, technology, financial systems, media, ideological networks, and religions the images of Jesus not only matter to U.S. moviemakers, and consumers, but people throughout the world. Hence the importance to critically think through what depictions of Jesus mean — how they are represented, how they communicate, how they are interpreted, and how they reflect, critique, and interact with wider socio-cultural realities. 

This is even more pertinent because Jesus is such a popular movie star and it is helpful -- both theologically and from a religious studies perspective -- to consider him as such. As David Crumm of Read the Spirit wrote:

“ONLY ONE FIGURE rivals Sherlock Holmes and Santa Claus as the longest-running characters in world cinema. As veteran-faith-and-film writer Edward McNulty points out in his new book, that unique, history-spanning figure is Jesus Christ, Movie Star.”

McNulty’s exploration of Jesus-figures, faith, and film gets us started down a path to not only catch the great importance of Jesus’ story as it was, but also — crucially — how it is transported and transposed in our current culture. To that end, I invite you to explore more about the work or to purchase it at Amazon.com to engage heartily in discussion with those with whom you watch, react to, and examine faith and film.

The stories that matter to Muslims should matter to us all

From the news headlines over the past year you’d think that the news about Muslims mainly consists of ISIS, Charlie Hebdo, Qur’an controversies, the occasional Muslim holiday, and lately the bigoted opinions of some presidential candidates.

Stories in the media that imply that Islam is all about violence, Mohammad cartoons, or subjugating women and non-Christians to harsh impositions of Sharia law, not surprisingly find a big audience in the U.S.

But what are the stories that matter to Muslims?

Faith Goes Pop Round-Up: Was Jaws Jewish?

Was Jaws Jewish? 

That's right, to pop off on this Faith Goes Pop round-up I'll start with a sighting of an opinion piece from film critic and academic Nathan Abrams of Bangor University who made the claim that the film Jaws, which celebrated its 40th anniversary back in June, was really all about the Jews (see the piece in The Jewish Chronicle HERE). 

Not only was it directed by Steven Spielberg and starring Richard Dreyfus (both Jewish), but there was substantial Jewish input (from Jewish scuba experts and extras) and inspiration (the shark was nicknamed "Bruce" after Spielberg's favorite lawyer). More than that, Abrams makes the argument that the triangle-finned protagonist represented the misunderstood and maligned Jew whose representation in the film, "taps into age-old fears of the Jew as predatory, lusting after gentile women and the blood of young Christian children." 

While at times Abrams' analysis may seem a bit too forced he brings up salient points that seem to show there is some credence to his thesis. At the very least, Abrams forces us to look beyond the sheen of summer blockbusters and popular films to read the subtext. Often, you'll find faith-filled themes lurking behind some of your favorite flicks. 

Who knows, maybe AntMan is about atheists and the establishment or maybe Mission Impossible 5: Rogue Nation is about Messianic return. At the very least, we often see people read onto films their own religious meanings and themes. Just take a look at the various "movie Bible studies" that seem to be popular at evangelical Christian churches during the summer. 

Also, you'll never see A Clockwork Orange the same again after you know that most of it was a not-so-subtle critique of atheist Stanley Kubrick's view of religion (specifically Christianity) or the religious intimations at work in Blade Runner or Charlie and the Chocolate Factory.   

*You might also like "Christian television as the new digital cathedrals." 

Jim Gaffigan is Catholic & wants to throw a Bible in a trash-bag. Welcome to the 21st-century. 

Lovable comedian & father-figure Jim Gaffigan also made a splash this summer with the premier of his new show "The Jim Gaffigan Show." 

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PHOTO: Care of "Jim Gaffigan Show"

The entire first episode swirls around his juggling act between his "Shi'ite Catholic" wife, his own Catholic faith, popular culture, and mainstream media. And as Kimberly Winston of Religion News Service wrote, "Jokes about somebody's religious beliefs are often...duds." 

That begs the question - why would the "Hot-Pocket comedian" dive into such a hot topic for his debut episode? Winston asked for my perspective on the show because of the work we are doing here at #FaithGoesPop. Here's an excerpt from her excellent story:

Ken Chitwood, a scholar who writes about religion and popular culture, said Jim Gaffigan’s comedic inner voice is key to what is new and different about this show in terms of religion — it presents a TV family that is simultaneously sacred and secular, funny and poignant.

“They are not this super holy, sanctimonious family,” Chitwood said. “They kind of hold their Catholicism lightly (in terms of humor). They are able to show Jim as this new kind of Catholic —  he is mainstream, he is funny and he is friends with Chris Rock.”

Brewtherans, Presbeertyerians, & EpiscoPaleAleians?

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PHOTO: Care of RJ Grunewald and www.rjgrune.com 

Beer is one of my things. Apparently, I'm not alone. One of the major trends in the U.S. right now (or indeed, the world over) is an artisanal shift toward craft beer production and consumption. Part of this is due to the consumer's need to feel authentic and local in their constant competition with the international, imitated, and invisible hand of the market. Part of it is also because this beer is damn good. But another part of it is, well, religious. 

Many different religious interactions and intersections are part of the craft beer craze going on right now. There are beer hymn sings in the U.K., Oregon, and Colorado, brewery Bible studies, "Theo-pubs," beer-troversies over religious symbolism, and explicitly religious themed beer production lines. Which brings us to ask -- what's with all this "craft-brewed" religion?

Certainly, there are lots of different angles to take and I've taken a few of them. Check out the following to learn more about beer & religion throughout history, about how beer and religion are interacting today, & how I think you can pour beer to the glory of God as a Brewtheran...I mean Lutheran...pastor:

• Pouring beer to the glory of God
• Religious beertroversies 
• Patron saints of beer

Gospel roller skating and religion on the move

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RKHPL on Parallel Bible snapped this image of a "Gospel Roller Skating" rink in Philly. I came to discover that "Gospel roller skating" isn't all that uncommon as skate-enthusiasts with a hankerin' for Gospel music can hop, or skate, down to their local rink for a fusion of the two fine arts. 

It's also a perfect example of what David Chidester calls the "haptics of the heart" -- the embodied, tactile, and physical tactics of moving that animate religious belief in the U.S. in a modern world. In his formulation, the free movement of roller skating to Gospel music and making known the Messiah through the movement of the body on the floor is a way of freedom of religion amidst a modern world of pressure from all sides. Held, bound, and burdened in place in the past new religious movements are just that -- movements -- seeking to embody themselves in new physical practices that liberate body and spirit. In this instance, such liberation seems to be achieved through roller-skating across the slick-top and sliding to the soulful rhythms of Gospel music. 

More #FaithGoesPop sightings? 

Remember, be sure to share your #FaithGoesPop sightings on Facebook, Twitter, Instagram, and Pinterest or just send them to me here at www.FaithGoesPop.com. 

Next week, I'm back to share my experiences teaching & talking "Faith Goes Pop" with some community college students in Florida. 

A.D. & How Biblical Movies are the New Global Cathedrals

This is awkward, but when I was growing up I had a huge crush on Roma Downey. As a kid, my family would tune into "Touched By An Angel" every single week and I was glued to the television to hear Downey’s Irish-tinged angelic messages float through the cathode tubes to my waiting ears. 

With that little confession session out of the way, let’s fast forward to February 2014. To say the least, I geeked out a bit (okay, a ton) when I had the opportunity to meet Roma Downy at a Son of God screening in Houston, TX. Long story short, I was asked by the local Christian radio station KSBJ to say a few words before pastors and faith leaders from the Bayou City got a sneak peak of the film. I got to talk to Downey after the film and we talked a bit about her husband — Mark Burnett — and her and the faith-based media empire they were building together. 

First it was History Channel’s mini-series “The Bible” and then the theater-released “Son of God.” They’ve since followed this up with their most recent made-for-television biblical epic: "A.D. The Bible Continues."

Last week, I got the opportunity to preview A.D. By now, those who wanted to see it have had the opportunity to watch it (SPOILER: Jesus dies…then rises again). While I could comment on its a-little-too-fast-paced narrative (like the Gospel of Mark on steroids), the over-reliance on British actors (is that supposed to make the Bible feel more sophisticated?), or the fact that Burnett and Downey are effectively preaching to the choir with a less than stirring media rendition of a story familiar to most of the people watching it already I am more interested in the reception of the Bible on TV than in its representation therein. 

Effectively, I am wondering why is Jesus such a money maker right now? Or, broader yet, why is the Bible such a hot movie ticket and television cash cow? 

I mean, we can’t count on two hands the number of biblical movies that have been released, or are coming out, to great fanfare in 2014 and 2015: Noah, Exodus: Gods and Kings, Heaven is For Real, God’s Not Dead, “The Bible,” Son of God, A.D., Mary: Mother of Christ (the prequel to the Passion of the Christ), The Redemption of Cain (Will Smith’s vampire remake of the Cain and Abel story…wha?!), Killing Jesus, Finding Jesus, and the list could go on. 

To say the least, biblical movies and Christian films are big money right now. Toss in Bollywood's Hindu epics and other films with religious/spiritual themes and you've got "spiritual movies/TV shows" making up a significant slice of the film and television industry. But why? 

In my estimation, there are three reasons for the proliferation of biblical blockbusters and spiritually-themed television and media: 1) the persistence of religion and the re-enchantment of the cosmos in a global age; 2) the important role of media in belief in such an age; 3) the piety of visual culture and media. 

1) Persistence of religion, re-enchantment of the world. 

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It seems, by now, that the dim prophecies of the secularization theorists — that with the advent of modernity religion would fade into the background or go completely extinct in the face of a rising tide of secularization — were overblown at best. While secularization, at the public and private level, is worth studying and is still a potent force at work in the world there has by no means been a drop off, or even a marked decline, in religion across the world. 

Indeed, it might be said that there has been the complete opposite. That in the face of late modernity and its global and fast-paced dimensions our world has been re-enchanted with divine intimations and spiritual promptings. As individuals and communities are (re)introduced to a whole buffet of religious and spiritual options to help them make sense of themselves, those around them, and indeed the entire cosmos they are finding that religious options for explanation often outweigh secular ones. 

That doesn’t mean that secular values are never present, but they are increasingly consumed, co-opted, and existing side-by-side spiritual affirmations, worldviews, and lifeways. For examples, a staunch affirmation of the theory of evolution can go hand-in-hand with the Gaia principle and a thoroughly modernistic approach can typify the structural approach of a seemingly pre-modern religious terror organization. 

The modern and secular are viewed through the lens of the late-modern religious impulse at work within many of us. Those religious systems and spiritualities that are doing best are able to bridge the chasms wrought by modernism. They are able to weave together the global and the local, the transcendent and the imminent, the spiritual and the physical, the personal and the cosmic, the individual and the communal, the imagined and the material. These successful religions are furthermore personal, portable, and practical. 

This is where the religious use of the media, and the media’s use of religion, comes to the fore. 

2)  The important role of media in belief in such an age

Dr. Stewart Hoover, Director of University of Colorado’s Center for Media, Religion, and Culture, has said that “the media determine the transnational civil sphere in important ways.” Not only does media bear witness to religious and spiritual trends, reporting, recording, and re-imagining them in audio/visual dimensions, but the media also are a source of religion and spirituality, compete for devotees and practitioners, and are indicators of religious and spiritual change.  

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The best "biblical" movie ever. Period. 

So what is the proliferation of religious media indicating to us about the trends in the re-enchantment of the world? Anthropologist Harvey Whitehouse has written about what he calls the shift from "doctrinal religions" to “imagistic" ones. The doctrinal mode of religion is characterized by a top-down hierarchy, involving regularly repeated daily or weekly rituals, written texts, standard teachings, and lower levels of emotional arousal. Imagistic religion is less structured, with little or no hierarchy or doctrine, characterized by periodic festivals with high levels of emotion that mark a break from regular daily life. Imagistic religions utilize ecstatic trance states and altered forms of consciousness to bring about direct divine contact; doctrinal religion employs mediators to interpret the divine. Imagistic can also be imagined in its literary sense in which it refers to a poetic movement in England and the U.S. during, and around, World War I, that emphasized the use of ordinary, vernacular, speech and the precise presentation of images to arouse reaction. 

As religious adherents are looking to personalize, localize, pragmatize, and spiritualize their religious practice (over and against corporate, global, sentimental, and institutional forms of belief and practice) they increasingly look to media in order to do so. Hoover, again, said: 

“Media provide rich symbolism, visual culture, salient contexts and practices of social participation and identity, and opportunities to make and remake identities and social relationships to fit evolving patterns of ideas and action. The media are, further, the dominant and definitive source of what is socially and culturally important in modernity. Journalism acts in this way by setting the agenda of public and private social discourse. The entertainment and advertising media do so by creating and maintaining taste cultures through which identities are given value.”

— Stewart Hoover

Media then become our new “doubting Thomas” encounters. Whereas Thomas was bidden to touch Jesus' side and feel his wounds religion in the media age invites us to see Jesus’ side pierced via "cathode ray tubes" (to use Kurt Vonnegut’s anachronism for television) and to watch his wounds on the big screen. 

3) The piety of visual culture and media

And so it is clear that in an age when the world is desiring the spiritual, but not the religious and media is a near-perfect conduit for such religious pursuits it is no wonder that we desire “visual piety.” But what is its effect? 

In his book Visual Piety: The History and Theory of Popular Religious Images, Dr. David Morgan illustrates that popular visual images — including television images, velvet paintings, prayer cards, talismans, or movies — have assumed central roles in contemporary U.S. spiritual lives and religious communities. 

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Are biblical movies and TV shows the new cathedrals of our age? 

Not only does Morgan situate American Christianity’s practice of visual piety in the longue-durée of history showing that it is not necessarily new — that it does not represent the rupture we think it does when history is taken into effect (think of icons, stained glass windows, sacred paintings, etc.) — but he also contends that religious aesthetics must be viewed in the context of social reality. That is to say, we have to understand what is happening with us in order to understand what is happening with the proliferation of religious movies and TV shows, etc. 

Morgan wrote, “The point behind the visual culture of popular piety is not principally an admiration of skill, which pertains to the manipulation of a medium, but admiration for the object of representation…We can therefore speak of beauty in visual piety as consisting…in the reassuring harmony of the believer’s disposition toward the sacred with its visualization.” 

I quote Morgan at length here to silence all the critics who complain about Kirk Cameron’s crappy acting in, well, pretty much any Christianese films he makes these days. It’s also to contend with those who want to critique A.D. based on its visuals or its score or all those British accents. Morgan is making the point that these evaluations are not all that important. 

What really makes visual piety in the form of biblical movies and Christian television beautiful is its representation of the divine object itself — in this case the beholding of the Trinitarian God of Christianity (but we could also extend this and apply it to Bollywood's representations of Hindu epics or negatively to the destruction of, and reticence to accept, images of the divine in Islam). 

Media, specifically in this case television and movies, embody and represent the very rise of modernity that was to be the harbinger of rapid social change and secularization. The likes of Marshall McLuhan warned of the advent of a new age with the introduction of digital and screen media and the secularization theorists were ridden with a foreboding prophecy of atheism and non-religion just on the horizon. What we have instead found is that all forms of media — from comic books to computer screens, from smart phones to cinemas — have been imbued with sacred images and representations. This means that instead of chasing religion out, media has presented a new conduit for visual piety. Media has become a new way for admire “the object of our [religious] admiration” and over and against the dangers of secularization, late modernity, and pluralism, attest to the reality, the portability, and the visual-tangibility of “our God” via the screen whether we be Christian or Jewish, Hindu or Neo-Pagan.

To sum up, A.D. should not be evaluated based on its award-winning effects, writing, production, acting, or lack thereof. Instead, it should be appraised as a benchmark of the re-sacralization of the world in a new media age. As media and modernization threaten to strip us of our religious imagination these new forms of visual piety are important mediums for confirming, or challenging, our religious curiosities and convictions and bearing us forward as religious beings in a global age. In effect, they are the cathedrals and temples of our age, where we go to encounter the divine.

With that, expect more biblical movies and Christian-themed television shows to come. Just as the faithful have given of their time, talents, and treasures over the years to build edifices to their religious sentiments and to bear testament to the divine in brick and mortar, stone and stained-glass, so too we will shell out our hard earned cash to see a movie that reassures us of our beliefs in visually appealing forms such as TV shows and movies. 

Should our worship go digital?

Should our worship go digital? That's the central question behind my latest post for the Lutheran Church Extension Fund's (LCEF) "Leader-to-Leader" blog. 

Integrating my own experiences worshipping online with recent research about tech trends and church I suggest FIVE REASONS you or your church should consider "digital worship."

Here's an excerpt:

“However, there are those who remain skeptical. There is a fear that in our “cyber sanctuaries” digital worshippers will miss the authenticity of face-to-face interaction. There is a concern that virtual ritual lacks real substance, presence, or legitimacy.”

I am here to suggest that there are FIVE REASONS these fears may be overblown. Read the rest of the piece at LCEF's Leader-to-Leader blog to learn more...