In contemplating the story of the bronze serpent, one might wonder why Jesus would identify with a metaphor (a symbol, a sculpture, a work of art) that had become an idol and had to be destroyed. Surely there was a more appropriate story that He could have drawn upon. The answer speaks to the heart of personal and cultural restoration and the implications are profound. When the distortions are dealt with in any area of life, that area of life can begin to be restored back to God’s original intention for it. This is the heart of the gospel narrative. The restoration of God’s intention in every area of life, including the arts, is a possibility when the distortions are dealt with. Jesus did not identify with the bronze serpent in its distorted state. The distortion had been dealt with through Hezekiah’s repentance. Jesus now identifies Himself with the original intention of the symbol—healing, forgiveness, and restoration.
Renewed, restored, and refocused
God could have asked Moses to take a dead snake and put it on a pole. But
the sculpture allowed them to “see” beyond their own immediate
suffering to God’s attitude toward their sin. This symbol was more eloquent
than words in evoking a deep emotional response. The arts have the ability
to heighten or alter our perception of reality by making the familiar appear
unfamiliar, so that we engage it with new eyes and receive new understanding
and revelation.
Although there are often complex factors involved, it is our firm conviction, based on the biblical narrative, that when distortion is dealt with, symbols, rituals, dances, and musical instruments can be renewed, restored, and refocused to the glory of God. In the story of the bronze serpent, we find the Gospel narrative in microcosm, with its inherent structure of original intention, original intention distorted, and original intention restored. History is moving toward the day when all of creation will be restored back to God’s original intention. The biblical narrative boldly proclaims that the process has already begun.
How an artist sees the world can be a valuable asset for the church as it engages its mission. Artists need to be about the serious business of creating work that is innovative in its concept, strong in its artistry and marked by the presence and power of the Holy Spirit. When human artistry connects with the purposes of God, extraordinary things can happen (Ex. 40:35).
An echo or a voice?
The arts have exercised a powerful prophetic role in the past. Will we encourage
art making that is simply an echo of the culture, or will Christians be a
fresh voice bringing unique and innovative creative expressions and a biblical
worldview to bear on the serious issues facing our world? As we have noted,
interest in the arts has been growing among Christians in recent years. There
has been a real surge in the training and preparing of dancers, actors, musicians,
screenwriters and visual artists. While we commend these initiatives, we must
ask, where are the choreographers, writers, directors, producers and composers?
These are the influencers, the change-agents who have the
ability to make their vision a reality, and who control content, form and production values.
With this in mind, we recommend a strategic investment in those who have developed their spiritual and artistic voice, who take creative risks, and who create thought-provoking work that offers a new reality in Christ. If as artists we remain just an echo of our culture, isolated from the community of faith, we will ultimately find ourselves in a cultural wasteland with other self-absorbed and bitter artists who have lost their way in the noise and confusion of the marketplace.
Soli Deo gloria
Artists are called to be salt, light and yeast in every sphere of artistic
endeavour. Salt includes compassion and humility. Light encompasses discernment
and freedom. Yeast can permeate and transform. We are to manifest these attributes
so that an unbelieving world might see our good “artworks” and
glorify God.
As the curtain closes and the house lights come up, we are left to contemplate
what we have “seen” and “heard.” As we make our way
out into the streets of everyday life, we can remain satisfied with things
as they are, or we can envision things as they could be.
ENVISION A FUTURE
Envision a future in which the church worldwide will integrate into its theological
foundations a response to God’s gifts of beauty and creativity that
will value and empower Christian engagement in, and enjoyment of, the arts.
Envision a future in which the community of faith is at the forefront of artistic innovation that will be celebrated in the corporate life of the church and its individual members, in the local cultural marketplace, and in the global entertainment industry.
Envision a future in which all children are able to explore, discover and develop their creative abilities, and where those with special gifts are given the encouragement and opportunity to study and develop their God-given creativity to its fullest potential.
Envision a future in which education in the Christian school, home school, Sunday school, and vacation bible school integrates the arts not only into the curriculum, but also as a major part of the learning process itself.
Envision a future in which students in seminaries, bible colleges, and missionary training schools are required to study and experience the arts for their own development, understanding, and preparation for pastoral and mission leadership and service.
Envision a future in which it will be common practice for Christian universities and colleges to offer a variety of degrees in the arts and allied fields of study, and to invest in the specialized facilities necessary for quality training, performance and exhibition.
Envision a future in which business and arts leaders work together in partnership to ensure that kingdom resources are gifted or invested into strategic arts initiatives, and that business training and practice is on the cutting edge of creativity and innovation.
Envision a future in which art commissions are once again seen as a responsibility of the church, enabling great works of art to be produced that will affirm our story, celebrate our common humanity, challenge our thinking, enrich our world and bring glory to God.
Envision a future in which the arts are a partner in local and global community development projects that bring healing and hope to the poor and needy, the abused and marginalized, and children at risk, moving all people toward God’s intention for them.
Envision a future in which the church in all people groups will reinforce the biblical narrative, pass it on to the next generation, and celebrate the goodness of God within their own cultural framework and with their own indigenous instruments and art forms.
Envision a future in which mission organizations will value the partnership of artists and the arts in fulfilling the Great Commission, as consultants in indigenous hymnody and contextualization, and in the task of church planting and cultural restoration.
Envision a future in which database information will be available to enable the active global networking of Christians in the arts, with a view to encourage, discuss, strategize, identify and share resources and facilitate diverse creative partnerships.
Envision a future in which artists will desire to be excellent in their craft, spiritually mature in their walk, humble in their attitude, servant-hearted in motivation, moral in lifestyle, and uncompromising in their obedience to Christ.
Envision a future in which Christians in every diverse cultural context of our world are continually involved in a lifestyle of intentional, premeditated acts of creativity and beauty, pointing to the day in which the Original Artist will make “all things new.”
1 Sayers, Dorothy L., The Mind of the Maker, (New York, NY: Harper Collins,
1941, 1967, 1987).
2 Hart, Trevor, Beholding the Glory: Incarnation through the Arts, (Grand
Rapids, MI.: Baker, 2000), Chapter 1
3 Seerveld, Calvin, Bearing Fresh Olive Leaves, (Toronto, Canada: Tuppence
Press, 2000), p, 8
4 Seerveld, Calvin, Bearing Fresh Olive Leaves, (Toronto, Canada: Tuppence
Press, 2000), p, 112