EMQ » Jan – March 2025 » Volume 61 Issue 1

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Arts Training  

Summary: Is the future of mission work painted in the colors of cultural diversity? The arts are are gaining recognition as a powerful tool for Christian mission worldwide, but training in the arts remains scarce. Yet if training in the arts and mission can be developed to be flexible to varying contexts, the resulting shifts could revolutionize the spread of the gospel.

By Roch Ntankeh

In recent years, the global church has seen significant shifts in its understanding and approach to mission work. Previously, it was nearly unthinkable to link the arts to mission or to identify as a missionary artist. Traditionally, the recognized fields of mission were Bible translation, pastoral care, church planting, preaching, and humanitarian services like medicine and education. These activities were considered the core pillars of Christian mission.

However, today’s perception of mission has evolved significantly. The spread of the gospel – the essence of Christian mission – has found diverse expressions, tailored to various cultural contexts. The modern church increasingly recognizes the importance of communicating the good news in a way that resonates with the audience, aligning with Christ’s directive: “Go therefore and make disciples of all nations …” (Matthew 28:19, ESV).

In this evolving context, churches and missionary organizations now employ a range of communication methods to share the message of the kingdom. Among these, the arts – such as music, painting, theater, sculpture, and dance – have gained considerable recognition. No longer seen merely as cultural expressions, they are now viewed as powerful tools for mission, integral to global strategies for spreading the gospel.

The integration of the arts into Christian mission serves a threefold purpose. First, it values and preserves local traditions, respecting cultural heritage while introducing the gospel. Second, the arts convey the Christian message in a way that emotionally resonates, touching both hearts and minds.

Finally, the arts foster authentic worship that emerges from the worshiper’s soul, reminiscent of King David’s exclamation: “Bless the LORD, O my soul, and all that is within me, bless his holy name!” (Psalm 103:1, ESV). Yet, little has been done to equip workers in the field with training in arts and mission. Developing a comprehensive arts and mission training program would change this.

Overcoming Resistance

Although the role of the arts in Christian mission is gaining recognition, certain non-Western local arts still face negative perceptions, particularly among influential leaders and theologians. In Africa, for example, a prominent theologian and head of a theological institute expressed his reservations about using local arts in a WhatsApp group, stating:

“Regarding traditional African rituals, let’s not Christianize them lightly! Traditional African songs, rhythms, dances, and gestures are almost always associated with occult practices. Ancestors and demons have ‘copyright’ on all these things. Even if we Christianize them, demons will still have the right to bewitch anyone who uses them. Please, I am involved in deliverance ministry. Do not provoke the devil and his demons under the pretext of contextualizing the gospel. You risk being attacked by forces you do not understand. Leave the ancestors alone. Let’s focus on our evangelism and not invoke their help to indigenize the gospel.”[i]

Whether one agrees with this theologian or not, his words undeniably reflect his personal experience and that of many others. This perspective, which cannot be dismissed, highlights the complexity and sensitivity of the issue. However, it also emphasizes the crucial need to develop appropriate arts education programs within Christian mission.

The effective acceptance and promotion of local arts in the church, for evangelizing people and worshiping Christ, can only be successful if those involved are properly trained and equipped. However, the challenges and resistance that exist are evident.  

A Neglected Subject

In 2004, the Lausanne Movement established a reflection group on the redemption of the arts, underscoring the need to discuss their value and contribution to global evangelization. The introduction to this reflection noted: “Apart from a small number of important voices, the church as a whole has been virtually silent on the topic for generations. There is an evident need to find ways to speak of the intrinsic value of the arts, what they are able to contribute to our faith communities and the cultures in which we live, and the unique ways in which they are able to move our spirit and shape our thinking.”[ii] Clearly, this need persists and has been slow to be met.

One way to address this need is by developing appropriate curricula that relate the arts to Christian mission. This is especially critical, as Thomas Oduro emphasizes, in Africa: “Music plays prominent roles in Christian communities in Africa. When Africans meet to worship, they sing their hearts out. In fact, music takes about three-quarters of the duration of worship in many Christian communities in Africa.”[iii]

Unfortunately, this central element of worship receives very little attention, not only in the training of church leaders but also in the preparation of missionaries sent to spread the good news worldwide. Biblical and theological training institutes or schools often neglect the teaching of the arts, especially local arts, in relation to mission in their curricula.

In November 2008, the Mission Commission of the World Evangelical Alliance (WEA) observed: “Over its long history, modern missions have at best been inattentive to the value of the arts for the missional task. Although many frontline workers are willing to engage in the arts, there is little evidence that mission leaders are ready to intentionally include the arts in mission work.”[iv] This underscores the urgent need to develop appropriate training programs that effectively integrate the arts into Christian mission. But how can this be done effectively?

Raising Awareness and Persuading Leaders

The observations above highlight two major points: the need to discuss the value of the arts and their contribution to Christian mission, and the lack of preparation for their intentional inclusion. Additionally, challenges such as a lack of information and doctrinal traditions often represent significant obstacles to introducing arts education programs in theological training institutes or schools.

The first step in developing an arts education program is to sensitize and persuade the leaders of churches, missionary organizations, and theological institutes. These leaders play a crucial and strategic role in the success of any educational project, especially in contexts where their influence is decisive.

However, this task is far from simple. It demands total commitment, unwavering perseverance, and a certain degree of self-sacrifice. Church leaders and other heads of training institutes often fail to fully grasp the value of the arts and their potential contribution to mission. Even when they are aware of it, their frame of reference may not allow them to engage directly and intentionally in this direction, as it doesn’t align with the training and preparation they have received.

In this context, it becomes crucial to work patiently to raise awareness and convince these leaders. This involves not just presenting arguments, but doing so with humility, respect, and patience. The Scriptures remind us that “Wisdom is better than weapons of war” (Ecclesiastes 9:18, ESV). Forcing or insisting excessively, even when right, is not always the best strategy. Patience, accompanied by respect and consideration for the leaders, opens doors that allow the implementation of such an educational program.

To succeed in this endeavor, it’s essential to invest time in building trusting relationships with leaders, listening to them, understanding their hesitations, and providing them with solid, relevant arguments that clearly demonstrate the importance and benefits of arts training in mission. By doing so, not only will doors open, but hearts will also be willing to welcome this necessary change for the future of Christian mission.

A few years ago, after completing my master’s degree in missiology with a focus on the use of traditional music in Protestant churches in Cameroon, I made a striking observation: the church was in dire need of training on the relationship between the arts and mission.[v] I had received no teaching on this subject during my theological studies – except for a one-semester music theory course, which had little relevance in the field. So, I decided to become the solution to the problem I had identified.

I approached the academic director of my faculty. We’d often discussed the importance of the arts for mission and the need to introduce such a course into the academic program. To my great satisfaction, he asked me to submit a syllabus proposal. I undertook a thorough reflection, which led to the development of a syllabus adapted to our context, addressing the arts and mission. Although my proposal was enthusiastically received, I felt that it had been shelved, as I received no feedback afterward.

However, I didn’t give up. Seven years later, I reopened the discussion, this time with my dean. After obtaining my doctorate, he asked me to propose a syllabus related to my thesis, which focused on the place and role of local arts in the life of the Medumba[vi] disciple of Christ.[vii] Since then, teaching on arts and mission has been an integral part of my faculty’s curriculum for over five years.

This experience demonstrates that leaders are a key target for the development of arts and mission curricula. Sensitizing these leaders to the value and contribution the arts can make to the mission field is an essential task.

It’s important to note that my faculty isn’t the only institution I’ve spoken to about this initiative. I have taken the same approach with other training institutions, as well as with leaders of churches and Christian organizations. Some of them quickly understood the importance of this need and took concrete action. Others, however, are still waiting for the right moment to make up their minds.

Building awareness with these groups is essential because they hold the power to bring such programs to life and integrate them into the training process. Their commitment is crucial if the arts are to play their full part in Christian mission, enriching the spread of the gospel in creative and culturally relevant ways.

Defining Target Audiences and Training Types

Developing a curriculum for arts and mission requires careful consideration of the type of training to be offered and the target audience. The language, tools, and methods used will vary considerably depending on the context and location of the training. Given the importance and centrality of the arts in the church, it’s essential to include all audiences – young and old, rural and urban – in the development of teaching programs.

Arts and mission offer the flexibility to create various types of training, each carefully tailored to a specific audience and particular needs. For example, some training can be designed for formal settings, such as Bible or theological training institutions, where they can be integrated directly into the academic curriculum. These formal programs typically combine theoretical and practical elements, offering an in-depth understanding of the arts within a missiological context.

Other training courses can be offered as workshops or seminars, taking a more practical, hands-on approach that enables participants to acquire skills applicable directly in the field. These sessions can be organized within the same academic institutions or outside, in churches, community centers, or other spaces accessible to the public. This approach not only reaches a wider and more diverse audience, but also allows for the adaptation of pedagogical content to the contextual realities of the participants, whether they are missionaries, church leaders, or community members.

Integrating both theoretical and practical elements in the training offers a holistic understanding of how the arts can serve as a powerful tool in Christian mission. This combination equips participants to apply this knowledge within their own cultural contexts while respecting biblical principles. In this way, these training courses can play a crucial role in preparing and equipping leaders and believers for a more contextualized and effective mission, where the arts serve as a bridge between faith and culture.

Defining the type of training and the target audience is essential for setting clear and precise objectives, which will translate into teaching content adapted to various cultural and social contexts. While the basic needs may be similar, approaches must be nuanced to respond effectively to the particularities of each environment.

For instance, a program aimed at a rural audience might focus on the value and preservation of local arts. It could include modules on rediscovering and revitalizing local artistic practices while reinterpreting them in the light of Scripture. The aim would be to show how these forms of cultural expression can enrich liturgy and worship, while also fostering a more incarnated and contextualized evangelization.

On the other hand, training for an urban audience might focus on integrating local arts into a more modern and diverse liturgical framework. In an urban context, where cultural influences are often more varied and globalized, the program could include reflections on the interplay between tradition and modernity, and on how to incorporate local arts into a liturgy that resonates with contemporary sensibilities. It might also explore the use of new technologies and digital media to amplify the impact of the arts in mission.

Flexibility in curriculum design allows for responsiveness to the specificities of each audience and maximizes the impact of the arts in Christian mission. Whether in a rural or urban setting, each course must be designed to respect and enhance local cultural particularities, while remaining faithful to the essence of the gospel. This contextualized approach is crucial if the church is to genuinely touch hearts and minds through the arts, while contributing to the spiritual and cultural development of the communities it serves. 

Setting Context-Appropriate Objectives

The diversity of audiences and contexts must guide the design of arts and mission training programs. There are many different types of training, each with its own objectives depending on the intended audience.

Among these objectives, we might consider:

• Awakening the church to the value of the arts and their contribution to mission.
• Initiating the discovery and use of local arts.
• Encouraging artistic creation and the popularization of local works.
• Promoting the use of Scriptures translated into local languages.
• Developing strategies for integrating local arts into the faith community.
• Training trainers to initiate programs in the field.
• Developing biblical and missiological theory for the use of local arts in ministry.

These objectives are not exhaustive, but they must be formulated with the socio-cultural realities of the audience in mind. It is imperative to avoid repeating the mistakes of the past, notably the imposition of Western models that do not always correspond to local needs and realities. As Oscar García-Johnson points out:

“The Western-centric approach to global missions has failed to resonate with the diverse human experiences in postcolonial territories, leading to a perpetuation of colonial dynamics. The historical imposition of Western forms of discipleship and Christianization has often overlooked the needs and cultures of colonized peoples, resulting in ambiguous and sometimes damaging representations of Christ that favors an elite. Consequently, theological education has struggled to be contextually relevant, failing to empower locals as agents of transformation in their own environments. Recognizing this crisis and the limitations of Western perspectives is the first step toward fostering a more inclusive and effective theological education that resonates with diverse global experiences against the backdrop of hopelessness.”[viii]

One of the primary aims of any arts and mission training should be to empower local people to become agents of transformation in their own environments through the use of local arts. This can be achieved by telling Bible stories and presenting concrete examples that demonstrate their value.

For example, a survey at the start of the training could enable participants to assess the situation in their local church regarding the use of the arts in general and local arts in particular. This can be an eye-opener for participants, helping them become aware of existing gaps and thus more motivated to follow the training program. This awareness can create a burden, or reinforce it if it already existed, to integrate local arts into the life of the church.

Rediscovering Discipleship in the Context of the Arts

It’s noteworthy that the term disciple, now commonly used in the church to describe followers of Christ, was originally linked in Scripture to musicians. Discipleship was first associated with the training of singers dedicated to serving God: “The number of them along with their brothers, who were trained in singing to the LORD, all who were skillful, was 288. And they cast lots for their duties, small and great, teacher and pupil alike” (1 Chronicles 25:7–8, ESV).

This connection highlights that artistic learning is not merely a secondary activity but a vital aspect of spiritual formation and service within the church. By reclaiming this dimension of discipleship, today’s church can revitalize its approach to arts training and also acknowledge the arts as a powerful tool for mission. Far from being mere aesthetic enhancements, the arts are deeply intertwined with the expression of faith and the communication of the gospel.

Developing arts and mission curricula demands careful consideration of the type of training, the target audience, and the intended objectives. A flexible, context-sensitive approach that honors and amplifies local cultures is essential for the church to effectively incorporate the arts into its mission efforts.

This strategy empowers local communities to embrace their cultural heritage while advancing the gospel in ways that resonate deeply with their specific context. By integrating the arts, especially local arts, into discipleship programs and training missionary disciple-artists, the church renews its commitment to reflecting the diversity and richness of cultural expressions in Christian mission. This approach enables local communities to become agents of transformation, rooted in their traditions and equipped to use their artistic gifts for the glory of God.

Recommended Resources for Developing Arts Training

• Worship and Mission for the Global Church: An Ethnodoxology Handbook, edited by James R. Krabill, Frank Fortunato, Robin P. Harris, and Brian Schrag (William Carey Library, 2013).
• Music in the Life of the African Church by Roberta King, Jean Ngoya Kidula, James R. Krabill, and Thomas A. Oduro (Baylor University Press, 2008).
• Creating Local Arts Together: A Manual to Help Communities Reach Their Kingdom Goals by Brian Schrag (William Carey Library, 2013).

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[i] P. Mpindi, “Réseau des Théologiens d’Afrique Francophone,” WhatsApp Group Message, June 16, 2023.

[ii] Lausanne Movement, “Redeeming the Arts: The Restoration of the Arts to God’s Creational Intention,” September-October 2004, https://lausanne.org/occasional-paper/redeeming-arts-restoration-arts-gods-creational-intention-lop-46#participants, accessed June 30, 2024.

[iii] Thomas A. Oduro, “Church Music in the life of the African Christian Communities,” in Music in the Life of the African Church, ed. Roberta R. King, Jean R. Krabill, and Thomas A. Oduro (Waco, TX: Baylor University Press, 2008), 81–100.

[iv] John Franklin, “Arts in Mission Taskforce,” The Journal of the WEA Mission Commission 9, no. 2–3 (September 2010): 5.

[v] L. R. Ntankeh Nana, “L’utilisation de la musique traditionnelle Medumba par les églises protestantes de Bangangté” (Master’s thesis, Faculté de Théologie Évangélique du Cameroun, 2012).

[vi] Medumba is a language of wider communication spoken in Cameroon: https://www.ethnologue.com/language/byv/.

[vii] L. R. Ntankeh Nana, “Le Mə̀dʉ̂mbὰ disciple de Christ et le Mangabeu : Une étude théologique et ethnomusicologique” (PhD dissertation, Faculté de Théologie Évangélique du Cameroun, 2019).

[viii] Oscar Garcia-Johnson, “Toward a Hopeful Horizon for Theological Education,” Hope and Healing – Fuller Studio, no. 27 (July 12, 2024): 74-79.

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EMQ, Volume 61, Issue 1. Copyright © 2025 by Missio Nexus. All rights reserved. Not to be reproduced or copied in any form without written permission from Missio Nexus. Email: EMQ@MissioNexus.org.