Having just quoted in the last post from An Hour On Sunday by Nancy Beach, there is a quote from that book I have been meaning to post for reflection for ages. She includes it in her chapter on authenticity. It would also fit with what she says about creativity.

She tells on page 186 of how a friend had drawn her attention to an article in GQ magazine that was painful reading for Christians. Walter Kim, not a Christian disciple, had chosen to immerse himself in the evangelical subculture for a week – music, videos, even an exercise régime. His words were damning:

‘[Evangelical Christianity] is mall Christianity. It’s been malled. It’s the upshot of some decision that to compete with them – to compete with ‘N Sync and Friends and Stephen King and Matt and Katie and Abercrombie and Fitch and Jackie Chan and AOL and Sesame Street – the faithful should turn from their centuries-old tradition of fashioning transcendent art and literature and passionate folk forms such as gospel music … and head down to Tower or Blockbuster and check out what’s selling, then try to rip it off, on a budget if possible and by employing artists who are either so devout or so plain desperate that they’ll work for scale. What makes the stuff so half-assed, so thin, so weak and cumulatively so demoralizing … has nothing to do with faith. The problem is lack of faith.’

(Walter Kim, “What Would Jesus Do?”, GQ magazine, September 2002, p 496.)

Well, where to begin? Mall Christianity? (Love that ‘It’s been malled’ pun, by the way.) Yes: so much evangelical Christianity is consumerist, and thus in denial of the Gospel. What a tragedy when you think where the contemporary Christian music scene started out from: the revolutionaries of the Jesus Movement around the late 1960s and early 1970s who were committed to a radical lifestyle. Now it only matters if it sells. No wonder the likes of Larry Norman never fitted in with it.

The quote is also the best piece of writing for making me reflect on why the wider world has despised contemporary Christian music. It’s easy to say that it doesn’t get played on grounds of prejudice, and I don’t doubt that is partly true – the deliberate snubbing by the media of bands like Delirious? is a case in point. But what Kim makes us forcefully see here is the sheer problem of a lack of originality. You can read reviews of Christian music and there is a need to compare the sound with something on the ‘secular’ scene that readers may be familiar with (I know that, I write reviews myself for Cross Rhythms) but sometimes it’s a sad expression of the paucity of artistry. Although too many of the American artists are certainly not working ‘for scale’: some command enormous fees. Material poverty isn’t absent from the US scene, but it’s far more common this side of the pond.

But what has stuck with me most since I first read this a few weeks ago is the way Kim latches on to the positive regard he and others have for our ‘centuries-old tradition of fashioning transcendent art and literature and passionate folk forms such as gospel music’. I knew ‘the world’ liked our ancient paintings, sculpture, stained glass windows and classical music, but I had assumed that was a spot of traditionalism. I knew there was a fondness for gospel music, but had assumed there was a certain stereotyping going on. (Think Kenny Everett and the large hands.) What Kim is saying here is that these art forms were original. Perhaps that’s why there is an innate respect today for U2, T-Bone Burnett, Bruce Cockburn, et al. Integrity and authenticity require honest creativity.

Kim’s writing leaves me wondering whether to label him what I have called elsewhere in a sermon on the arts and culture one of God’s unwitting prophets. We certainly need to hear his voice.