<Another work in progress. The topic of contextualization is fraught with challenges. I doubt I will ever get to a point of confidence on how best to contextualize either the Gospel message or theology. I speak of this more in my book, “Theo-Storying: Reflections on God, Narrative, and Culture“>
Stephen Bevans in “Models of Contextual Theology” classifies the different forms of contextualization into six (I believe it was six) broad categories. It seems to me that the one that is the closest to the truth is the category he describes as “Counter-cultural contextualization.” He notes that some describe this form as “encounter contextualization” or “prophetic contextualization.” I don’t care for those terms since they appear to over-spiritualize a process that may or may not do justice to the term.
Counter-culture is not Anti-culture. A counter-culture rejects failings in a culture while living with and even affirming other aspects of that culture. This suggests that a counter-cultural contextualization requires:
1. Understand the symbols of the culture. If the basic characteristic of culture is its formation and utilization of symbols to provide the interface between individuals in society with the natural world, one cannot understand a culture without understanding its symbols…. its values, stories, myths, priorities.
2. Analyze the culture through the eyes of Scripture. This process requires solid exegesis to avoid the extremes of cultural imperialism on one side and excessive accommodation on the other. In some cases, the analysis may lead to modest rejection of surface behaviors. In other cases, important aspects of the worldview must be challenged. However, the good should always be affirmed.
3. Utilize the symbols of the culture to challenge it. This should be done sympathetically, affirming of the good within the culture.
This is what Jesus did in the form of parables. Jesus used relevant symbols within the 1st century Jewish culture to challenge aspects of that culture. Wine, vines, shepherds, sheep, marriage feasts, light, salt, slavery, and other items ingrained in Jewish culture were used to challenge common perceptions and values in that culture.
Parables are stories rooted firmly in the symbolic structure of a culture and attacks certain beliefs within that culture. Therefore, parables are an important part in counter-cultural contextualization.
Counter-cultural contextualization is grounded in solid hermeneutics. However, its application is definitely dependent on the creative and artistic.
How can this be done? It is difficult to train to be artistic. But a few things come to mind.
A. Learn the stories that people in a culture enjoy to discover cultural themes. In the US, a dominant cultural trait is achievement (the Horatio Alger, “rags to riches” motif). Another is the American Dream (economic ascendancy of a family over succeeding generations). Another could be the underdog as victor (David over Goliath). In the Philippines luck (suarte) and fatalism (bahala na) appears to be a major concern. Another could be the Philippine dream (Educating children so they can get good jobs overseas and send money back home). An additional one could be the appreciation of getting along with one another despite substantive disagreement (pakikisama). Another one (although starting to reduce) is the sense of inferiority to foreigners. These traits provide the language of stories, but also the areas to challenge.
B. Read and watch stories that practice the form of the parable. This can be uncomfortable. A story that challenges an important part of American culture is likely to be considered Un-American. Such writers may be thought of as being Un-American, or troublemakers. The same is true of writers who act in the counter-culture of other cultures and nations. A story such as “Citizen Kane” or “The Treasure of Sierra Madre” can challenge materialism, for example.
C. Master the short-story. I enjoy reading O Henry stories although they are decades old. They are often humorous, short, and have a twist at the end. Even today, “The Gift of the Magi” (O Henry) and “A Christmas Carol” (Dickens) are remembered and provide a challenge. A good parable can be harsh or dramatic, such as “The Treasure of Sierra Madre” but can also be given in humous form (a similar message is provided in the movie “It’s a Mad, Mad, Mad, Mad World” for example). Seek competence in the narrative form over the didactic, or polemic forms.
D. Practice. One can look at existing stories and parables and see which ones can be used or modified for a new culture. For example, I have seen the story of the Prodigal Son reinterpreted very successfully for the Highlands of Luzon. The tribal groups here have seen far too many of their children leave the rice terraces, lured into the Lowlands and the big cities (such as Manila) and the corresponding vices there. The parable of the Prodigal Son only needs modest changes to be very relevant in showing the father who overlooks the shamelessness (walang hiya) of the son and risks personal status to forgive and restore him into the tightly knit family and village.
E. Live it. Jesus created stories by living them. Jesus challenged legalistic cultural rules of His time by violating them. These violations (grabbing wheat berries on Saturday, or not ritually washing) may not be understood in a different culture, but they were easy to recognize in that culture. Stories are not simply told… they are lived out.