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Theocom17 slides
1. Storying faith amidst digital cultures
Renewing religious education in the 21st century
Mary E. Hess, PhD
THEOCOM / Santa Clara University / July 24, 2017
2. citations and references are either underlined as
active links to the source in question, or cited at
the end of this slide show
you can ļ¬nd this complete set of slides at my
slideshare site:
https://www.slideshare.net/maryhess1
3. my context:
ā¢ Roman Catholic professor at a Lutheran
seminary in the upper midwest of the US
ā¢ focused on questions of formation and learning
amidst digital cultures
ā¢ work with theological faculty, with church staff,
with families and children, and with multi-faith
organizations
ā¢ long term project: storyingfaith.org
4. what does it mean to āstory faithā in the midst of
digital cultures?
12. adaptive Christianity can be found in the heart of
deep relationality with God, a story of faith that is
born in an overwhelming love, and that embodies
that love in communal sharing and practice
13. āGo, therefore, and make disciples of all
nationsā¦ā (Matthew 28:19)
Disciples are learners and learners must risk ļ¬rst their
own understanding.
15. we get into trouble when we live from fear, rather
than resisting fear and leaning into Godās
transcendent love
16. what does it mean to āstory faithā in this world?
17.
18. Mario DāSouza
ā¢ āthe unfathomable and the true are inseparableā
ā¢ ālanguage is an indispensable means of encountering the
real and realityā
ā¢ āthe natural habitat of truth is human conversationā
ā¢ ābe attentive, be intelligent, be reasonable, be
responsible (Lonergan)ā
citation
19. āThe three major festivals of the Church ā Christmas,
Easter, and Pentecost ā all have to do with the advent
of a divine stranger. In each case this stranger ā a
baby, a resurrected Christ, and the wind of the Holy
Spirit ā all meet us as mysterious or strange visitors,
breaking into our world, challenging our worldviews
and systems and welcoming us to new worlds.ā
(Bevans and Ross, 70)
20. what does it mean to āstory faithā in this world?
21. it means thatā¦
ā¢ we need to begin from the clear conviction that God
continues to reveal Godself
ā¢ we need to base our search and any interpretive stances
we want to use, on the conviction that God is Trinity, that
God is communicative within Godās very self and in
communicative relationship with all of Creation
ā¢ if we see God in this way we must also see ourselves in
this way
22. given that we so often āget it wrong,ā what helps
us to do good discernment? and how do we do
that in ways that ignite curiosity and wonder in the
midst of everyday practices?
23. story is at the heart of all of these challenges
25. Bell, Roberts, Irani, and Murphy
ā¢ āā¦stock stories .. are the most public and ubiquitous in dominant,
mainstream institutionsā¦ the other story types critique and challenge their
presumption of universality
ā¢ Concealed stories ā¦ are often circulated, told and retold by people in the
margins whose experiences and aspirations they express and honor, and they
provide a perspective that is often very different from that of the mainstream
ā¢ Resistance stories are ā¦ stories, both historical and contemporary, that tell
about how people have resisted [oppression], challenged the stock stories
that support it, and fought for more equal and inclusive social arrangements
ā¢ Counter Stories ā¦ are new stories that are deliberately constructed to
challenge the stock stories, build on and amplify resistance stories, and offer
ways to interrupt the status quo and work for changeā
citation
26. For example ā¦
ā¢ to glimpse a stock story (Generic Brand Video by Kendra
Eash)
ā¢ concealed stories (The War on Drugs by Jay Z, et. al. )
ā¢ resistance stories (Understanding Charlotte, by Dr.
Rodney Sadler)
ā¢ counter stories (Knowing by Mai Vang) (Seriously by This
American Life)
27. it is inevitable ā and appropriate! ā that people
learning how to discern such stories in our wider
social spaces will also use them for discernment
close in at home, in religious ways and places and
practices
28. So, for exampleā¦
ā¢ a stock story (Bp. Nienstedt in MN)
ā¢ a concealed story (House for all Sinners and Saints in
Denver, CO)
ā¢ a resistance story (music video from Selma) (MN United
campaign)
ā¢ a counter story (House for All Sinners and Saints)
29. confessing God as a Trinity is a confession of deep
commitment to communicative practice, to
relational understanding ā if we refuse this we are
in perilā¦
30.
31. We believe in a God who creates everything ā
creative action is clearly a part of who God is and
who we, being made in Godās image, are.
32. We believe in a God who shares Godās very Being
into the world through Incarnation. Sharing is very
much part of who we are made to be.
33. We believe in a God who continues to be very
much present to us, breathing through the Holy
Spirit, drawing us ever close into communion, ever
more deeply into belief.
34. ādigital storytelling is a workshop-based,
participatory media practice focused on self-
representationā
Vivienne
35. creating and sharing something in this way almost
inevitably leads to deeper belief
41. theological reļ¬ection with commercials
ā¢ what is your experience?
ā¢ image or theme
ā¢ what is existence like in that image or theme? what is life-giving and
joyful? what is broken or sorrowing? what possibilities for healing?
ā¢ what biblical passages come to mind in resonance?
ā¢ now read that passage several times, and ask the same questions
ā¢ what insights emerged for you from this conversation between a piece of
digital culture and the deep structures of your faith? Have any pressing
questions emerged for you? Are you being called in any way to direct or
concrete action?
Killen
42. this process assumesā¦
ā¢ a robust theology of grace
ā¢ a profound conviction that God is always reaching out to
us in everything and in every way
ā¢ that our human thirst for meaning is in fact a thirst for
God, a God who is intimately caring and passionately
involved in our lives
ā¢ that revelation is ongoing, intimately touching our daily
lives while at the same time it is historically privileged in
the gospels and the theological heritage of the Church
Killen
43. we rest on the utter certainty that we are
inescapably wrapped up in a community of truth
44. we do not need to build fortresses around our
convictions ā we can lean into them, and lean
outward into the world which God has created ā
this is also how we think about mission as
prophetic dialogue, and what has been evoked in
āthe new evangelizationā
46. we must enter the circle ācreate, share, believeā by
helping people to create in the midst of digital
media, and in doing so open ourselves to the
strangers in our midst
47. what is religious education in the 21st century?
āreligious education is the making accessible of the
traditions of the religious community and the
making manifest of the intrinsic connection
between traditions and transformationā
citation
50. citations:
Mario DāSouza: lecture he offered at the University
of St. Michaelās College, in the University of
Toronto, on April 18, 2017. For more, see his book
Mary Boysā deļ¬nition of religious education:
Educating in Faith (San Francisco: Harper & Row
Publishers, 1989) 193
51. references to various images and videos:
Spotify logo (http://
kpcbweb2.s3.amazonaws.com/companies/329/
logo/original/Spotify.jpg?1364424490)
Youtube Nation logo (goo.gl/e9O6P1)
Instagram logo (https://4.img-dpreview.com/ļ¬les/p/
articles/3759280259/instagram.jpeg)
Adaptive change (goo.gl/VqnB3E)
Iceberg image (https://
cdn6.organisationsberatung.net/wp-content/
uploads/Unternehmenskultur-Organisationskultur-
verbessern.jpg)
52. further references:
Trinity graphic (http://rapgenius.com/Action-
bronson-the-come-up-lyrics#note-1452273)
Faith 2020 diagram (http://www.lifelongfaith.com/
uploads/5/1/6/4/5164069/ff_2020_chapter_1.pdf)
Create/Share/Believe circle (Eric Celeste)
Communicative theology diagram (from The
Practice of Communicative Theology)
Wonder Bread (cf. Mary Hess for permission)
#EatTogether commercial (https://
www.youtube.com/watch?v=vDuA9OPyp6I)
all other photos by Mary Hess