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400 pages, Paperback
First published April 15, 2014
We can all agree that worship, if it is to be true worship, must be God-centered. We can also regard as axiomatic the principle that worship cannot be entertainment. Worship as entertainment is idolatry. It is unlikely that anyone really disagrees with this claim. As we have argued, by definition worship must be about God, not personal amusement. Here is where we disagree: adiaphora. Contemplate for a moment contemporary worship in its typical setting of stages, theater-lighting, bands, singers, dancers, dramatists, choirs, hand-held microphones, and theater-style seating. Are these adiaphora? Normally, issues of seating, lighting, placement of musicians, and style of platform might have qualified as adiaphora, as things indifferent, just as the elevation and adoration of the host might have been considered adiaphora. But is this evaluation still possible? Or has a line been crossed in our generation? A benign view of the above trappings of entertainment in the place of worship is increasingly difficult to sustain. Much of what passes for worship today appears to be little more than lightly baptized entertainment. Should such worship not therefore be considered idolatrous? Does it not at least have a propensity to encourage idolatry, and therefore should not serious churches distance themselves from it? Our principle must be (with apologies to Luther), “Let us, therefore, repudiate everything that smacks of entertainment.”
We would suggest that the time has come for the worship places of evangelical Protestantism to be cleansed of everything that reflects the world of entertainment. Our Protestant forefathers took axes to the altars, and whitewashed the walls of medieval churches.30 Perhaps similar iconoclastic zeal should be shown, and soon, in our houses of worship, lest they become houses of mirth. Perhaps we ought to pull out the theater seats, break up the stages, banish the dancers and actors, move musicians and choirs to the rear and redefine their role as that of simply supporting and enhancing congregational singing. Has the time not come to restore the pulpit, table, and font to the visible focal point of the interior of our churches, and restore simple services of the Word read, preached, sung, prayed, and received (in the sacraments)? What was once considered indifferent ought to be reconsidered in light of the danger of idolatry posed by the trappings of entertainment that have come to dominate our places of worship.
Soli Deo gloria effectively summarizes the Reformers’ concerns even as it elevates those concerns to the highest level. The reforms of worship were necessary, the Reformers argued, because God is glorified when his people worship “according to Scripture” and refuse to embrace human novelties and innovations. God is glorified when the church’s eucharistic practices affirm the finality and sufficiency of Christ’s atonement and in no way imply the need for its perpetual supplementation. God is glorified in Word-filled worship services which underscore that justification is by personal faith in Christ alone and not by implicit faith in the church and her sacraments. God is glorified in prayer-saturated worship services which demonstrate dependence upon the Holy Spirit, rather than rituals and ceremonies (or in our day, on marketers, demographers, and entertainers). Historic Reformed worship, by its content, form, order, furnishings and buildings, provides an unmistakable witness to the central truths of the Christian faith: Scripture alone leads us to Christ alone, whom we receive by faith alone, as initiated by God’s grace alone, all to God’s glory alone.
‘Contemporary worship’ is really a determination to prefer the taste preferences of a segment of contemporary culture (typically anglo-contemporary, but sometimes Latino, African-American, Hip-Hop, Cowboy, skate-boarders, etc.) over an older church culture. Have the ecclesiastical ramifications of that determination been thought through? Can the church avoid fragmentation and division according to cultural preference if ‘authenticity’ requires that ‘my culture’ be the dominant form in which Christian devotion is expressed?