Bridging The Gap Breaching Barriers

From its very beginning, in June 1842, the Protestant Mission in Gabon included men and women of African descent--African Americans, Americo-Liberians, and West Africans--all teachers and advanced students from the Cape Palmas (Liberia) Mission, who transferred with the mission to its new location on the Gaboon estuary. All came voluntarily and wholeheartedly. They served as teachers, evangelists, preachers, and printers, building the early foundation of Christianity in Gabon. Many eventually returned to their homelands, but others stayed for the duration of their lives, assimilating into the local community. This book celebrates the contribution of persons of African descent who served with the mission from 1834 until 1891, a time of complex and controversial race relations in America, which seeped into mission relations overseas. Private missionary correspondence and journals reveal the interrelationships, roles, and contributions of these individuals, and also the underlying perceptions of nationality, race, and gender. One must grieve the injustices evident in the stories, yet marvel at the giftedness, faith, determination and commitment of those who served, often with no official recognition. I introduce you to Mr. B. V. R. James, Lavinia Sneed, Charity Sneed Menkel, Mary Harding, and others--may their stories inspire you!

From its very beginning, in June 1842, the Protestant Mission in Gabon included men and women of African descent—African Americans, Americo-Liberians, and West Africans—all teachers and advanced students from the Cape Palmas (Liberia) Mission, who transferred with the mission to its new location on the Gaboon estuary. All came voluntarily and wholeheartedly. They served as teachers, evangelists, preachers, and printers, building the early foundation of Christianity in Gabon. Many eventually returned to their homelands, but others stayed for the duration of their lives, assimilating into the local community. This book celebrates the contribution of persons of African descent who served with the mission from 1834 until 1891, a time of complex and controversial race relations in America, which seeped into mission relations overseas. Private missionary correspondence and journals reveal the interrelationships, roles, and contributions of these individuals, and also the underlying perceptions of nationality, race, and gender. One must grieve the injustices evident in the stories, yet marvel at the giftedness, faith, determination and commitment of those who served, often with no official recognition. I introduce you to Mr. B. V. R. James, Lavinia Sneed, Charity Sneed Menkel, Mary Harding, and others—may their stories inspire you!

The Bisa people of Nabwalya, Zambia love their culture and gladly celebrate all their traditional festivals. This book presents exciting research into Kusefya pa ngena, rituals through which the Bisa elect ancestors for veneration. The Bisa speak freely of how their belief in ancestor veneration does not conflict with their worship of God. For them, the two work hand in hand. Traditional practices are considered vital to the community because they enhance life, reinforce cultural values, and explain life events. Those questioned said ancestor veneration should continue because it benefits current and future generations. For example, their most celebrated ancestor, Kabuswe Yombwe, when petitioned, provides rain and a good harvest for the community. People affirmed that rain fell each time they petitioned Kabuswe. One woman, who is married to an elder in a Pentecostal church, vowed not to give up ancestor veneration, to which she attributed the healing of her son and daughter. She pledged her allegiance to both Jesus Christ and to her family’s ancestors. In another story, an ancestor appears in a dream to an expectant woman demanding that her child be given a feminine name. The mother obeys to avoid the child being born with a sickness . . .

Music and Liturgy, Identity and Formation is a one-of-a-kind book about All Saints Moda Church in Istanbul. In this book, Sue Whittaker explores the ways Dr. Turgay Ücal, the MBB founding pastor, has intuitively blended Christian faith and the local urban culture. Indigenous songs and adaptations of Reformed liturgy work together to enable worshipers to feel comfortable with Christianity. Images, customs, and gestures guide seekers into new ways to pray and live their lives. Turgay’s theologically sound approach provides a welcoming Christian home for Muslims searching to connect to Allah/God. For thirty years, the practices and strategies detailed in this book have merged to clearly present the gospel message in culturally appropriate ways. The principles of the All Saints Moda Church model of inculturation can be applied to Christian ministry among Muslims in all countries and cultures worldwide.

The purpose of this study was to understand how women lead and make meaning of their leadership in evangelical mission organizations. Twelve executive-level women were interviewed. They described how they came to lead and told stories of their successes and challenges. They also described their thoughts on why they were chosen to lead, and what it was like to be a woman leader in their organizations. Analysis of their stories revealed their challenges as well as organizations’ ongoing ambivalence regarding women leaders. Conclusions from the study and suggestions for improved organizational practice are offered.

Ultimately, what really does it mean to be creative? How can we see ourselves as participating in the creativity of God for mission? All people are creative. Sadly, however, for many, creativity is stifled and remains stunted due to several reasons—social, economic, political, cultural, and even spiritual. This study explores how ICMs—indigenous cosmopolitan musicians—negotiate their creativity amid the liminal spaces they occupy as they share in the creativity of God for mission through their music. But what exactly does it mean to share in the creativity of God for mission? Contrary to popular notion, ICMs evidence that creativity is not merely innovation; it is not a psychological metric for measuring human potential; it is certainly not the “icing on the cake” reserved for a few so-called creatives or artists. Rather, “theological creativity” is participation in the creatio Dei; it is theologically prior to mission. As a missiological framework, creatio Dei is understood here in terms of creative being, creative construction (design), and creative performance. Hopefully, this book can help clarify and expand our understanding of what it means to be truly creative and, thereby, with the help of the Creator, put into practice principles of theological creativity as we share in the creativity of God in the world, with others.

Every culture on earth has at one time or another danced. From tribal times forward people have danced to socialize, express themselves creatively, and promote societal unity. The borders that separate us came much later in human development. It is time to return to our roots and dance, dance, dance. That is because dance has the unique ability to unite a person’s mind, body, and soul. In his capacity as a touring bassist, Jimi Calhoun witnessed thousands upon thousands of people lose themselves in dance. Suddenly, ethnic, racial, and religious differences disappear. Borders, on the other hand, divide religious communities, races, and nations. Human conflict is perpetuated by these boundaries. What is written within these pages will show you ways to dance across divisions by means of a choreography of altruism. This is a book that invites you to dance to the rhythms of grace that result in true harmony and unity.