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eBook details

• Title: Traveling in Different Directions on the Liturgical Highway (Report)
• Author : Cross Currents
• Release Date : January 01, 2009
• Genre: Education,Books,Professional & Technical,
• Pages : * pages
• Size : 61 KB

Description

In her children's book, In God's Name, Rabbi Sandy Eisenberg Sasso chronicles a people's attempts to describe God. She suggests that the context and life experiences of individuals shape what they call God. "The tired soldier who fought too many wars called God Maker of Peace" (Sasso 1994:10), she writes, and "[t]he artist who carved figures from the earth's hard stone called God My Rock" (Sasso 1994:11). "The young woman who nursed her newborn son called God Mother" (Sasso 1994:20), she continues, "[a]nd the child who was lonely called God Friend" (Sasso 1994:23). Sasso's storybook characters highlight the interplay between theological concepts and mundane life. The language that a congregation, whether Jewish or Christian, uses to worship God is inextricably bound up in the activities and experiences of that congregation in the ordinary passage of days. Lawrence Hoffman, in reflecting on the development of Jewish worship resources, observes, "Prayerbooks, then, whatever else they may be theologically, are also social documents. New prayerbooks represent a new social context" (Hoffman 1977:134). He recognizes that worship language evolves according to the shifting experiences of those who evoke that language. The linguistic, visual and kinesthetic aspects of this language are all shaped by human engagement in the world, so that even the choreography of a prayer service and the aesthetics of the space in which it occurs reflect the self-perception of the participating worshippers (Hoffman 1977:159). When this correspondence between worship language and life experience fragments, people of faith agitate for new worship resources that better reflect their daily existence. As Hoffman notes with regard to orders of worship developed during the Creative Liturgy movement of the mid-twentieth century, "these services provide their own message in which content (manifest and symbolic), structure, and choreography all combine to give a consistent picture of American Judaism as defined by the services' authors" (Hoffman 1977:151).

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