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LeadershipIssues: A Unique Program…

Arts programs in churches tend to be unique… If nothing else, the nature of artists lends an off-the-grain vision to the programs that they lead.

When I began developing the arts ministry at LVC, there was nothing like it going on at all in that church… Worship music was the only artistic medium being employed in any of the existing programs…

Uniqueness was not a problem for me.

Raising up any new program in a church requires attention to the uniqueness of the program. If the new program overlaps an existing ministry, you will find difficulty recruiting leaders and participants.

Years ago, I was Education Pastor in a medium-sized denominational church. I was tasked with revamping the Discipleship Training program, which was plagued by two problems. First, some classes didn’t draw enough participation and second, other classes got bogged-down and stretched their 12-week study into almost 2 years (not exaggerating).

The first problem was easily explained: the chosen topics were indistinguishable from the Sunday School themes. The DT program was not unique in it’s content and participants were subsequently disinterested in making the time investment.

The second problem was also an issue in uniqueness, but not with the DT program… In our structure, we intended for Sunday School to be more a place of community. The leader of the “longest-running, floating DT class” had done such a great job of creating community in his group, that the participants were loathed to finish that course and move on. Since his gifts were better suited to pastoring and building community, we moved him into SS leadership, preserving and enhancing the unique purpose of SS.

A unique Arts program will draw out participants who are unactivated in other areas of church life. For example, our current model for worship features a band that is purposefully limited in scope: leader (with guitar), drummer, second guitar, bass, and second vocalist. The number is also limited by the technical requirement: worship music is played from chord charts.

Our Arts Ministry projects activate keyboardists, symphonic instrumentalists and choral vocalists. We also generally need players who can read music. The result of our unique approach allows these artists (who would not have a place on the worship team) to be activated and contribute their gifts in the life of the church.

I have come to believe that the purposes of God for our ministries can be easily discerned by simply looking at the gifts of the people that God has given us…

Lots of thespians… do theatre.

Lots of vocalists… do vocal ensembles.

Lots of photographers…

Lots of graphic designers…

Lots of technical musicians…

You get the idea.

The uniqueness of your program should reflect the uniqueness of your team…

And if you are having difficulty drawing interest, do a “uniqueness check”… Ask yourself whether this activity or program is similar in scope, theme or practice to other programs offered in your church.

NEXT UP: A Finite Program…

LeadershipIssues: Developing a Successful Arts Program…

LVC Cast of Godspell...

I’ve been working to develop an arts program at the LVC for about 2 years now… In that time, we’ve tried a few different kinds of things, but always seem to find ourselves falling back on theatrical projects that consume all of our artistic resources for months. I wouldn’t describe the program as ‘comprehensive’ but it has certainly been successful.

It might be helpful to give you a bit of statistical data:

The LVC is a small church (under 200 in typical attendance), with a small staff (1 full-time and 2 part-time staffers) and a rented, retail facility that I always describe as being ‘in a hole.’  We’re currently putting up a production of Charles Dickens’ Christmas Carol, which will probably activate 30-35% of the total average attendance. Our Godspell production activated about 15%.  Our Facebook group (of individuals active in the program) has a membership of around 60 (more than 30%). Our Godspell production reached an audience of about 700 and our Night In Bethlehem event (which involves artists but is actually produced by our kid’s ministry) reaches an audience of about 1250 in the years that we do it. NiB has an activation percentage around 75%. We are prepared to reach an audience of around 1000 with our current production.

So, our focus on events and productions has been rewarded with good attendance, 3-1/2 to 4 times the typical reach of our church at-large.

Gallery presentations have activated 8-12 artists (<10% of attendees) and have required a great deal of work on my part.

Our current plan also calls for bi-annual ‘cafe night’ events that will include gallery presentations, art lessons for kids and adults and an open-mic forum.

That’s what we do because that’s who I am…

The form and focus that your arts program takes is largely dependent on your own gifts and artistic skills. It is essential, however, to recognize and embrace the basic qualities that make programs in church successful…

By my count, there are four… A successful program will be:

Unique… Regardless of how you organize your program, the opportunities offered by “Arts Ministry” must be unique within your church. For instance, our worship ministry is build around a five-piece band format, consisting of musicians who, for the most part, read charts or tabs and have little formal music training. Arts ministry offers opportunities for ensemble singing and musicianship outside of the worship team format.

Finite… The scope your program must be purposefully limited so that events and activities meet the goals of leadership. Our tendency is to jump off into major projects because these productions meet the goals of leadership. In most cases, these projects stretch us to the very limit of our capability, but the scope of the overall ministry remains limited.

Duplicatable… While the specific activities or the program may change with a change of leadership, the show must go on. In our arts group, there are 2 people who could take up leadership of the ministry and continue the same or similar emphases if I were to go away.

Open… Becoming a part of your program should be explicit and simple. Newcomers should be able to find their way into the program easily. By embracing a project approach, we are always announcing open auditions and vying for new recruits from within the church and from the community as well.

In the coming weeks, we’ll explore each of these factors in more detail…

BookReview: Imaginary Jesus by Matt Mikalatos

I thought I knew Jesus… Then I read Mikalatos’ book.

In one of the most imaginative works of Christian fiction that I’ve picked up in ten years, Matt Mikalatos brings his own search for the “real Jesus” to life… in a weird, out-of-body kind of way.

The story opens in a communist coffee house, somewhere in Portland… Matt narrates in first-person, occasionally speaking directly to the Imaginary Jesus that has joined him for latte and vegan chili. The tranquility is broken when a large, hairy brute (who later identifies himself as the Apostle Peter) enters the room and punches Imaginary Jesus in the face…

As Imaginary Jesus flees the confrontation and Mikalatos pursues him, we encounter an ex-prostitute, a talking donkey, an atheist Bible study group, George Barna (eating a vegan taco salad at the same communist cafe) and a host of other imaginary Jesuses…

The razor wit with which Mikalatos vivisects our tendency to create Jesus in our own image is both entertaining and poignant… Nobody’s Jesus is off-limits: Business-suit Jesus tells us that everyone creates a convenient version of Jesus to believe in, only to discard him when he becomes irrelevant. Men’s Retreat Jesus speaks in barely intelligible sentences, cries like an 8-year-old girl and is so easily manipulated that he follows the principal characters around for several chapters like a lost puppy. Social Justice Jesus has hands but no mouth… Legalist Jesus has a loud voice and no arms…

Wherever you land theologically, you’ll laugh at the Jesuses that you don’t like and fume when he slices to bits the Jesus that you do…

And when he finally encounters the real Jesus (ironically, hanging out in a prayer labyrinth) it will touch you to the core…

This book has been around a while and is actually being reissued under the title My Imaginary Jesus, which includes an interview with the author and a discussion guide…

Definitely worth a read.

You can purchase the Kindle edition here… or if you’re more old school, the paperback is here.

Current Project: Charles Dickens’ Christmas Carol…

I like to share my current projects with you guys when said project isn’t completely hi-jacking my life… Right now, we’re in the final weeks of rehearsal for Charles Dickens’ Christmas Carol… It’s a fun adaptation of the holiday classic that I am directing for the LVC.

Here are a few images from the rehearsals…

Ian Prichard as Scrooge...

A tavernmaid tries to wish Scrooge an 'appy 'oliday...

Scrooge converses with The Ghost of Christmas Past...

Londoners in a tavern enjoying the holiday spirits...

The show goes up on December 1 for five performances… If you are in the Denver area, come check it out.  Admission is free with a food donation to Open Arms Food Bank and registration is open at www.freehumbug.com

LeadershipIssues: Collaboration and Authority…

Take responsibility for creating a collaborative atmosphere for your team...

I don’t particularly enjoy collaborating within an authoritarian leadership structure… And that is largely the structure we encounter in church: Leaders who feel it is their responsibility (or even their “divine right”) to make the final decisions.

I am fortunate to work with a pastor who trusts me to make good choices…

Several years back, however, I worked with a different pastor who was quite the authoritarian… He was the person who introduced me to the pitfalls of collaborating in this context…

In authoritarian settings, I have found my creativity squashed by the realization that, ultimately, the guy in charge was going make a decision… That his opinions were (by default) more weighty than mine, regardless of his level of understanding in the medium…

Frustrating.

Don’t frustrate the creatives under your leadership.  Frustrated creatives do not produce the best results… Often, they give up and go away before the produce any results at all…

Here are a few “do-unto-others” rules for leading collaborative efforts with creatives:

1. Start with a clear vision of purpose. A vision of purpose will allow creatives to flow in their creative gifts, not just in their artistic skill.  A few years ago, I worked with a graphic artists to put together artwork for our Holy Week activities. I told her the theme, asked for a clean, modern look and let he go to work. She came back with several great ideas. We used all but one of them.

In the end, it was satisfying for the artist and I was rewarded with an end-product that far exceeded what I was capable of even envisioning by myself.

2. Start with a clear vision of outcome. This is different than a clear vision of purpose. A clear vision of outcome requires little or no collaboration, only instruction. If you are looking for a specific outcome, don’t ask for creativity, just tell the artist what you want the end result to look like in very specific terms.

Most artists are accustomed to working under specific expectations. The basis of most commercial art is commission… Someone with resources hires an artist to create something specific.

3. Be a team player. This sounds obvious, but you would be surprised at how many leaders see themselves as apart from, or even above, the rest of the team. When you enter into a collaboration, you have to allow that some of your ideas will be trumped or even cast aside…

4. Remember that being the leader does not make your ideas better. This requires a cultivated humility… a choice to view others as more important and their needs before our own.

Do nothing out of selfish ambition or vain conceit, but in humility consider others better than yourselves.  (The Bible, Philippians 2:3)

When I direct a show, I have a few key moments that I want to play out just as I envision them. I lay these out clearly to the actors, musicians or technical artists… I will have other occasions, in the same show, when I specifically request collaboration. In these cases, I layout the theme or message that I want to convey and let the team run with it…

I also allow myself the artistic and human freedom to be wrong. Sometimes, the blocking or technical aspect doesn’t work the way I thought it would… Since the team is accustomed to having the freedom to collaborate, they can help fix it.

If your team does not get the opportunity to routinely question and critique your ideas, then you may not get the input you need to make your collaboration maximize it’s potential awesomeness.

As a leader, take responsibility for creating a collaborative atmosphere for your team… Then sit back and watch the magic happen…

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