O coração do artista cristão como catalisador da falta de unidade na adoração
Tipo
Monografia
Data de publicação
2023-02-09
Periódico
Citações (Scopus)
Autores
Pessôa, Samuel Tito Siqueira
Orientador
Chung, Chun Kwang
Título da Revista
ISSN da Revista
Título de Volume
Membros da banca
Programa
Resumo
Em todas as denominações evangélicas há atritos entre os envolvidos na liturgia do culto. Músicos e pastores, artistas e liderança eclesiástica tem linguagem e predisposições bem diferentes. Ao mesmo tempo, fora das comunidades cristãs, o artista dedicado à sua técnica e à sua profissão tem o sucesso como alvo comum. Ele é diariamente, intencionalmente, e intensamente adestrado para o virtuosismo e a excelência técnica. Esta jornada sempre tem premissas ligadas ao aperfeiçoamento da performance a qualquer preço. Os parâmetros sempre serão exclusivamente técnicos. O artista será tão mais recompensado e admirado quanto mais apurada for sua habilidade. Para isto ele é intensamente direcionado ao oposto do biblicamente requerido de quem ministra no culto. Ao mesmo tempo, a obra e a performance de um artista nascem em seu coração, mas não há como mensurar que intenção existiu no processo criativo. Acontece que Deus requer intencionalidade e pureza de propósito na adoração prestada a Ele. Ele requer que somente o seu nome seja exaltado. Então, se o culto não acontece como deveria no coração de cada ser humano, sua expressão, ainda que permeada de excelência profissional e até mesmo de adequação litúrgica, não significará que houve louvor genuíno. Todo o descompasso certamente nasce da falta de valores consistentemente bíblicos na adoração pessoal e diária. E então, quanto de fato a liderança eclesiástica conhece de cada artista, e do ambiente em que ele é treinado? Será que sequer existe a percepção real de que, no que diz respeito à técnica, a atividade musical pode ser exercida da mesma forma dentro e fora do culto, sem que as intenções sejam notadas? Como fica o coração do artista neste contexto de conflito espiritual? O que é requerido para ajustar essas variáveis e o comportamento dos envolvidos a um modelo bíblico de adoração comunitária? O que é preciso para que pastores e líderes se tornem mentores plenamente envolvidos com gente tão estranha quanto os artistas? Que ferramentas temos à nossa disposição na caminhada cristã para um discipulado realmente transformador, promotor de unidade na adoração? O objetivo deste trabalho é ajudar nessa caminhada, promovendo a unidade no culto comunitário e público.
In all evangelical denominations there are frictions between those involved in the liturgy of the service. Musicians and pastors, artists and ecclesiastical leadership have very different language and predispositions. At the same time, outside christian communities, the artist dedicated to his technique and profession has the success as a common target. He is daily, intentionally, and intensely trained for virtuosity and technical excellence. This journey has premises related to the improvement of performance at any price. The parameters will always be exclusively technical. The artist will be so much rewarded and admired according to the more refined his skill is. For this he is intensely directed to the opposite of the biblically required of those who minister in the cult. At the same time, the work and performance of an artist are born in his heart, but there is no way to measure what intent existed in the creative process. It turns out that God requires intentionality and purity of purpose in the worship given to Him. He requires that only his name be exalted. So, if worship does not happen as it should in the heart of every human being, its expression, even if permeated with professional excellence and even liturgical adequacy, will not mean that there was genuine praise. All the misstep is certainly born from the lack of consistently biblical values in personal and daily worship. And then, how much does the ecclesiastical leadership really know about each artist, and the environment in which he is trained? Is there even a real perception that, regarding technique, musical activity can be exercised in the same way inside and outside the cult, without the intentions even being noticed? How is the artist's heart in this context of spiritual conflict? What is required to adjust all these variables and the behavior of those involved to a biblical model of communitary worship? What is needed to make pastors and leaders become mentors fully involved with people as strange as the artists? What tools do we have at our disposal in the Christian journey to a truly transformative discipleship, promoter of unity in worship? The objective of this work is to help in this journey, promoting the unity in community and public worship.
In all evangelical denominations there are frictions between those involved in the liturgy of the service. Musicians and pastors, artists and ecclesiastical leadership have very different language and predispositions. At the same time, outside christian communities, the artist dedicated to his technique and profession has the success as a common target. He is daily, intentionally, and intensely trained for virtuosity and technical excellence. This journey has premises related to the improvement of performance at any price. The parameters will always be exclusively technical. The artist will be so much rewarded and admired according to the more refined his skill is. For this he is intensely directed to the opposite of the biblically required of those who minister in the cult. At the same time, the work and performance of an artist are born in his heart, but there is no way to measure what intent existed in the creative process. It turns out that God requires intentionality and purity of purpose in the worship given to Him. He requires that only his name be exalted. So, if worship does not happen as it should in the heart of every human being, its expression, even if permeated with professional excellence and even liturgical adequacy, will not mean that there was genuine praise. All the misstep is certainly born from the lack of consistently biblical values in personal and daily worship. And then, how much does the ecclesiastical leadership really know about each artist, and the environment in which he is trained? Is there even a real perception that, regarding technique, musical activity can be exercised in the same way inside and outside the cult, without the intentions even being noticed? How is the artist's heart in this context of spiritual conflict? What is required to adjust all these variables and the behavior of those involved to a biblical model of communitary worship? What is needed to make pastors and leaders become mentors fully involved with people as strange as the artists? What tools do we have at our disposal in the Christian journey to a truly transformative discipleship, promoter of unity in worship? The objective of this work is to help in this journey, promoting the unity in community and public worship.
Descrição
Palavras-chave
culto , adoração , música , canção , discipulado , cult , worship , music , song , discipleship