The Art Of Gospel-Telling
Pastoral Resources
Gospel-Telling
The Art and Theology of Children's Sermons
Some of us are naturally talented and others of us are naturally terrified of gospel-telling. In this section I will make practical suggestions to overcome your fears and hesitancies while energizing whatever talents we possess. Because we do have different talents and interests to employ, there will be a variety of styles and sermon forms.
Where To Begin
The customary approach is to begin with the scripture text/s and its development into an adult sermon, then, to reduce it to a children's message. What is laudable is the unity it provides to the service of worship. It also helps to root the children's message in Scripture. The difficulty this approach engenders is the "reduction" it embraces. Here I would ask ministers and teachers to make a 180--degree turn. Instead of developing the gospel-telling from the top down, work from the bottom up. Don't reduce an adult theme - most likely drawn from a passage meant for adults - in order to make it understandable for children. Begin with the same Scripture text and think and feel as a child does. The reason for the reversal is this: Children live in a unique world and children of different ages inhabit different worlds. Magazines such as Time and Newsweek have recently featured articles about how the brains of adolescents are different. Perhaps something new is being learned as science maps the brain, but parents and teachers have always known teenagers to be a "species" unto their own. The same is true for children, though adults characteristically want to think of children as pint--size, underdeveloped adults.
I begin with the scripture passage; while this seems matter--of--course it is not always practiced. The alternative is to begin with the object or a creative idea or the hook which will catch their attention. From a practical point of view and personal experience, this is a sea of choices too big and the result is that I expend too much time trying to decide which fish to reel in. Begin with the text and then revert to being a child - if not your own childhood then children you know. Interpret it as they would hear it. Ask how it is relevant for the world they inhabit. You may find that the message is very different from its adult application. Resist the temptation to say something simply in the children's sermon that is meant for the entire congregation. Yes, we have all heard how much adults appreciate the children's message which says more about our adult preaching than our children's sermons (see "Overhearing The Gospel" for a discussion of working on several levels at the same time). Take the time to write down in a phrase the intent of the gospel-telling. Give yourself time for creative juices to flow. This rules out a Sunday morning run--about or prayers for divine intervention. Give some thought to the target age group.
A word about creativity. It can't be forced. It needs time to "brew." Rather than rushing about to find an appropriate object, ask what medium of communication is most appropriate for the message itself. A pantomime, for example, is fitting for the sermon "Overcoming Temptation," because temptation is an experience that happens in the quite recesses of our hearts and minds. If I choose the form first, without considering its relationship to my message, I may still be wondering what I really want to say on Sunday morning, or the sermon may come across as disconnected because the form (the creative impulse) and the content do not connect.
Developing Your Style And Tone
To a very significant degree the medium is the message, and in this instance the proclaimer is the primary medium. Fred Craddock states it eloquently: "When we respond we respond to someone" (Overhearing the Gospel, p. 43). A most revealing exercise is to ask a friend to observe you. Ask her to block out your voice in order to be more sensitive to other stimuli; the next Sunday have her screen out all visual stimuli in order to attend to the verbal quality of your sermon. In this way your observer will grasp a good sense of both the verbal and nonverbal situation you are creating. While you cannot control everything in the immediate environment, you can shape the context and yourself to affect a particular tone and style. In one way or another you will need the feed--back of an observer.
Tone has to do with more than just delivery. Ultimately, it raises questions concerning identity: who you are (How do you feel about yourself? How do you project yourself?), who you are in relationship to your audience (you are big, and they are small; you know it all, so they must learn from you; you are very much like them, yet very different; you are father/mother; you are intimate, you are distant); and who you are together (they are the exposed ones sitting in front; we are the ones having a private conversation; we are the ones sharing stories about God and ourselves). You may think of yourself as a "natural" with children, or you may feel awkward with them. Regardless of the validity of such a generalization, you can change many things once you begin to pay attention to the situation you create by the little things you do or don't do.
To a certain extent you will be limited by the particular physical circumstances of your sanctuary; but reexamine these factors, for they are important. To shape the more immediate context of the gospel-telling moment, start by asking what you want to communicate about yourself and this shared time with the children of your church. It will then be possible for you to affect such factors as physical distance (standing or sitting, at the same height or not), children facing the congregation or not facing the congregation, your dress (Do you always wear a robe or a stole and if so why?), the quality of your voice (Is it any different in this context? What does it project?), your use of physical contact (Do you physically interact; why or why not?), and your sense of time (Do you feel rushed/impatient or distracted?). Does your physical presence communicate: "I really want to be here"? You will create a particular atmosphere by the kind of style you choose: celebration, explanation, dialogue, or lecture. As a result the children will perceive the sermon as "their time," "your time," or "our time"; they will sense whether you are preaching or teaching at them or sharing with them. Remember, you are creating a total experience and the details add up.
Tone is important whenever we communicate, but it is even more important when we communicate with children, for they are intuitive observers of the unconscious and the unspoken. The content of a specific sermon may prove to be irrelevant or over their heads, but children always pick up on the tone of the message. Since younger children are less confident about their use of language, they give more weight to nonlinguistic clues. This factor can work both to our advantage and our disadvantage. On the one hand, we need not despair if children feel left out of a particular experience; the tone of a sermon can succeed when the content fails. The sermon "Baa--Baa" tells the story of the concern of a certain shepherd who searches for the one who has gotten lost. As it unfolds the story relies upon an allegory of a lamb named Baa--Baa (the child) and the good shepherd (God) who leaves the flock (safe and sound in their pen) to find the lost lamb. Before I told the story I did not presume the younger children would "catch" the analogy. But I did intend for them to be touched by the tone of the story - how it is told - and the shepherd's caring and the lamb's great worth. So at one level the sermon missed the mark, but on a tonal plane it succeeded. A similar example is the sermon "Death Comes To The Henry Family," because some of its concepts about life and death are too abstract for younger minds. Nevertheless, the emotive qualities of assurance and anticipation can be translated into verbal and nonverbal clues that children can experience.
Anyone familiar with the work of Jerome Berryman is sensitized to the importance of setting, tone, and tactile clues. Berryman provides detailed suggestions about how the teaching room is to be organized, how the teacher walks and speaks, the level at which the interaction happens. His intention is that children will experience God in mystery, awe, and wonderment in how we present ourselves. Berryman emphasizes teaching with space and time, or the rhythm of church school time, and together these become "the unspoken lesson." One other key component to Berryman's methodology is "the response of wondering together." In contrast to a question--answer format, the children first share a common experience (the story telling) and then are asked "to bring their own experiences into dialogue with the biblical stories ... so the children themselves have a way of making meaning and order in their lives" (Young Children and Worship, pp. 14--15). After the story of the Good Shepherd, the children might be asked, "I wonder how it feels to be lost," or "I wonder how the Good Shepherd feels about the sheep," or "I wonder who the Good Shepherd might really be." I highly commend what Berryman has achieved, for it is the one truly innovative approach to teaching/proclaiming in a long time. It certainly made me more aware of the physical environment, my movements, the rate of my speech, the use of nonverbal clues in order to affect a specific purpose. Wonderment and mystery are woefully neglected in children's sermons. This is particularly curious when gospel-telling takes place in the larger context of worship and the sanctuary.
Targeting Your Sermon
On most Sundays the minister sees before him a group of children ranging from toddlers to adolescents. Ideally, she would like to have a small group of preschoolers or third and fourth graders. But since the ideal is usually impossible, the minister should at least be aware of some basic differences in how children of different ages perceive and verbalize reality. As a general rule, the pastor should aim his sermon at the lowest common denominator, which would normally be first and second grades. Because it takes more effort to enter into a child's world, ministers too often address the older children because they are closer to their mental and verbal abilities. The negative result is an adult sermon reduced to pint size.
This business of focusing a children's message is not as difficult as it seems. A basic understanding of the developmental stages of children will go a long way. I make a threefold division: preschool, younger children, older children. Junior and Senior High are unique categories. There are, of course, more definitive classifications of development. Lawrence Kohlberg, for example, has identified six stages occurring at three distinct levels: pre--conventional, conventional, and post--conventional. Just a little time spent reading Kohlberg's theory of moral development (Moral Development: A Guide to Piaget and Kohlberg by Ronald Duska and Mariellen Whelan) or Margaret Donaldson's Children's Minds will deepen anyone's appreciation for the very distinct stages of development.6
Preschoolers. The most important generalization about pre--schoolers is their inability to understand abstractions or to make analogical connections. Words are not so much a symbol of some reality as a coequal representation of some specific reality. Attributes like "good," "red," "strong," "big" are embodied in the person or object itself. "Dog" is Spot down the street rather than all animals in the world with certain characteristics. Preschoolers may come to understand the cross as the thing on which Jesus died, but they will not grasp the Cross as a symbol of Christ's atonement for humanity. Consequently, teachers of the Word should watch their use of metaphors, allegories, complex stories. On the other hand, children of this age love role--playing, let's--pretend games, rhymes, and stories that are not allegorical (see, for example, "Stilling The Storm" vs. "Devils Are For Sale, Aren't They?").
The second generalization is that preschoolers think literally. They also do not distinguish well between fact and fantasy. Consequently, preschoolers will draw unusual conclusions from what they hear and see. The first time I told the story "Looking For The Devil" my daughter alerted me to the need to watch my language. In trying to tell why the Devil is not really a red character with a pitchfork whom we can blame for the bad things we do, I had innocently said, "The Devil is inside of you." Several weeks later my four--year--old asked me one night at supper, "Daddy, is there a Devil in my stomach?" By a process of literal association, she had come to the simple conclusion that if the Devil doesn't live somewhere outside, then "he" must live inside her, and where else but in her stomach - a conclusion made "logical" by the fact that she had a stomachache. It is this predisposition toward literalism that explains why preschoolers invariably misconstrue analogies, although ministers persist in using them. New Testament scholarship may have relieved us of this burden (if it is a burden of obligation rather than laziness) by demonstrating that most or all allegories were originally parables of participation which the Church turned into parables of illustration (see "The Story Form As Proclamation").
One reason preschoolers are so much fun to be with is their ability to move easily between a literal world and a world of fantasy. We love to read to them because of all the wonderful, zany books that titillate the imagination. So go ahead and try a few let's pretend gospel messages. Admit to your hesitation of associating the Bible with make believe. At the same time indulge the child who visits other worlds, the worlds C. S. Lewis created for the benefit of adults and children. Think of fantasy not so much as fiction or escapism but as a doorway into a world where dreams arise, fears are discharged, and all things are possible. Preschoolers will love it and love you if you will enter this world with them.
As adults we may find it strange that children do not share our fear of death - so strange that we continually try to protect them from seeing the signs of death. How quickly we forget that children do not see the world of angels and the world of decay as two irreconcilable realities. On the one side, they are remarkably down--to--earth (Who will tuck me in bed if Mommy has gone to be with God?). In their minds fact and fantasy are likely to be interchangeable, which explains why miracles and magic are neither puzzling nor awe--inspiring to preschoolers. One of the sermons in this collection, "Stilling The Storm," gives children the opportunity to sense and feel what it is like to be in a small boat in a big sea. Older children may be reluctant to participate because they have "adult" reasons not to believe they have an oar in their hands. It is too bad that the adult in us keeps us from this kind of "teleportation."
Younger or Elementary Children. After children enter school they change markedly. Among the most important changes is their need to demonstrate both to themselves and to their peers and parents that they belong and that they are capable of being independent. By age eight or nine their center of gravity begins to shift from home to school. Parents are often distressed by what their child is learning when away from home: from friends and peer groups, television, and from overhearing adults. The pastor is readily associated with those authorities from which the child is trying to separate and as a result is sensitive to preaching that is morally righteous and heard as "do this" and "don't do that." The virtue of being different because one is a Christian is heard as an invitation to be seen as different and thus standing alone. By far the most realistic situations are ones where elementary school children are conscious of peer interaction (see "What To Do With A Chocolate Chip Cookie?"), where children of the same age act out their real--life tensions (see "Show Me How Strong You Are"). The most effective communication flows in and through the group, in contrast to communication which is directed at them and flows from the minister/teacher to them.
Older Children. The older child (grades 4, 5, and 6) intensifies the traits of younger children but is more interested in mastering and controlling reality. After school activities are less play and more testing, getting ahead, and finding oneself. Peer pressure becomes more intense. Both boys and girls are able and eager to distinguish clearly between reality and fantasy. Video games, television, and movies are more than escapism; they are ways of "acting out" and projecting who they might be. Magic becomes intriguing because just as they have figured out some basic rules about the universe, someone comes along and seems to defy them. At the same time they are less interested in the world of make--believe and more likely to identify with the "real" people of MTV and sports. "Let's pretend" now seems childish but role--playing is still acceptable if the roles are realistic. In fact, role playing can be very valuable, since it provides older children the opportunity to experiment with what it will be like to be older.
Children have a limited perception of time and the teacher in each of us becomes frustrated when children make Moses and Jesus contemporaries. We must continually remind ourselves that for preschoolers time is nothing more than a patchwork of uncoordinated events. Even during the middle years of childhood, time is limited to the narrow span between the birth of a baby brother and the death of Grandma. It is only in early adolescence that they can put into perspective 2,000 years of biblical history and 2,000 years of church history. Thus, we might as well wait until junior high or high school to separate the prophet Isaiah from the Apostle Paul and concentrate instead on what a prophet or a disciple does.
Watching Your Language
No matter what the age group, watch your language. Take nothing for granted. A simple explanation of a key word is one way of getting into your theme. (See "A Prince In Disguise," where the word "disguise" is first explained.) Children do not live in a biblical world and therefore have a limited understanding of words like "reconciliation," "righteousness," "repentance," "salvation," "covenant," "shepherd," "disciple," "grace," "sin," and "holy." Consider for a moment the story of the Good Samaritan. The meaning of this story depends upon an understanding of who a Samaritan was in the eyes of those who passed by on the other side. I am still struggling with a suitable parallel. "A person with AIDS" once worked very well and avoided a lengthy explanation of Samaritan. Sometimes the listener needs to be prepared for the telling of a story in order for the experience to be recreated. Everything may hinge upon the meaning of a single word. Occasionally there are sermons that require us to prepare the setting, as would be the case in any of the biblical stories regarding a leper. Otherwise, the gospel of God's grace and inclusion is not an experience but a lesson to be heard and forgotten.
Most of us know of at least one humorous story about a child who misunderstood a word and came up with an preposterous interpretation. I once referred to Jesus as being of the house and lineage of David. Then realizing they didn't have a clue of what was meant, I added that Jesus was a descendent of King David. Later, a girl approached me hesitantly and said as politely as she could, "Mr. Coleman, I'm sure glad Jesus descended from David and not into Hell." Often we unwittingly choose words that reflect a dualism that we do not intend; for example, we may casually refer to "God up there" or "the Devil down there." Since children learn as much, if not more, from our mistakes as from our good intentions, we must be on guard - particularly of the more insidious forms of dualism inviting children to picture God as up in heaven (wherever that is) and therefore could not possibly have anything to do with what happens on the school playground. We undermine the Christian faith when we use a distinct biblical language to convey what was originally proclaimed in the vernacular. Rather than talking about sin as a doctrine or a concept, why not talk about sin as children experience it? If we inherently have difficulty associating sin with children, then we need to remember that "overreaching" is a human characteristic which develops in tandem with the maturation of the ego. I have yet to meet a child who knows what it means when told that Jesus died for your sins. What does the Cross have to do with the unmerciful teasing of my brother, a child wonders? More than 2,000 years separate American culture from a Jewish Messiah, and repeating the well--worn phrases will not build any bridges. We need to forgo attempting to translate those lofty doctrines and symbols we finally understand after a college degree and several years of theological training. If, instead, we utilize those common experiences that bind all humans together, we will discover that we do indeed speak the same language.
An effective way to rethink the language you use is to ask children to draw a picture of God and another picture of God doing something. This may be an appraisal of their entire church--life experience, since they are learning stories, absorbing sights and sounds, and fashioning mental images from everyone and everything they encounter. The story of the talents in Matthew 25 is a reminder that Jesus paid more than scant attention to correcting the wrong image of God (in this instance the critical, demanding, unforgiving depiction of God; see the question mark at the end of v. 26). Yours will be the uncommon congregation if the children (and adults) draw pictures of God, Jesus, or the Holy Spirit in the midst of their daily lives.
Heart, Mind, And Spirit
There is a holism in being human and there is a holism in the gospel to be proclaimed. We are told to love God with all our heart, mind, and soul (Deuteronomy 6:5; Matthew 22:37). Jesus, we are told, grew in wisdom (mind), stature (body), and favor with God (spirit). Therefore, let there be a holism in what we proclaim to children. One message will speak more to the mind, another more to the body, and another more to the spirit.
For some reason the YMCA's logo - - made an early impression on me. It was important to me, and still is, that I nurture my body, mind, and soul. I also learned the "Y" was better equipped to help me grow in body, the school in mind, and the church in spirit, but that is not to say these institutions did not value all three dimensions of being human. We who labor within the church and for the sake of the gospel should, nevertheless, seek "God's kingdom and righteousness" above all (Matthew 6:33). But that does not mean there is never a gospel word for the body or the mind. The Jesus of the New Testament takes almost no notice of such distinctions. He encounters each person at his or her deepest need: the woman with the flow of blood of forty years, the inquiring Nicodemus, the young man asking what he must do to have eternal life. It wasn't usually the Good News they expected or wanted to hear, and that is the way it is with the Word that transforms.
Children are growing. That is, they are unceasingly changing and becoming. This can both drive us crazy and energize us. We see in them an unbridled enthusiasm for the world God made, an almost naive willingness to love others, and a love of God that emanates from "one fresh from God." We are called to be a part of whom they will become. In no small measure they will become what they see in our hearts, hear from our lips, observe in our actions. When all is said and done what matters most is how we live the gospel in our bodies, and in our hearts, and in our souls.
Music
It is not necessary to extol the power of music, especially in the lives of the young, or defend sacred music as a legitimate expression of the Christian faith. Music appears to be hard--wired into the soul of every human being, though it can be damped by cultural influences. It has a certain simplicity and directness that verbal communication often lacks. When the words are simple and the tune is catchy, songs have a staying power that rival stories. Beginning with the premise that music is a powerful way to convey the gospel, the question is how and to what end.
To what end? Most congregations have some type of musical program for children and/or youth. The children's or youth choir is typical; the purpose is to provide an occasional anthem. Everyone loves to see and hear them standing in front and are anxious to let them know, usually with applause, that they are appreciated and valued. It is time to take a more critical theological look at what is going on. When their role is to provide a musical selection (anthem), then what is the purpose of the anthem in a specific worship context? The drift toward entertainment is always present and in spite of our resistance the pull is considerable. The larger question concerns the role of the choir regardless of the age of the participants. The cardinal rule is this: sacred music inspires (uplifts) the soul, teaches the heart to love the triune God, and can be a religious experience in and of itself. In short, sacred music embodies the gospel. The role of the choir, then, is to help lead worship by inspiring, consoling, welcoming, sending, teaching, proclaiming, and above all else, glorifying God.
To achieve this end, preparation is the necessary ingredient. To prepare a children's anthem, perform it, and move on to the next occasion is to short circuit the very purpose of sacred music. Good preparation includes the right attitude, a clear sense of purpose, a feel for the rhythm, an understanding of the content. When children sing or dance or play musical instruments within worship, they become worship leaders. What specifically is their purpose and how they lead worship on a particular Sunday depends upon the selection and where it is placed. It is common sense to appreciate that a solemn selection requires a different preparation from a joyful (bordering perhaps on silly) piece. Yes, the sacred can be silly when it incites a smile or causes a hint of self--recognition. When music and children are the medium, you have a combination that is potent. How can we not thank God for child--like innocence, boundless energy, exuberant joyfulness, and songful voices to tell the Good News?
How? The possibilities are great. Different congregations are trying rhythm or percussion instruments (also known as Orff named after a particular kind of rhythm instrument), wind ensembles, Kazoo "bands," as well as hand bells and choral groups. A number of excellent how--to resources are available, such as Children Sing His Praise: A Handbook for Children's Choir Directors (edited by Donald Rotermund). A better effort can be made toward integrating children, youth, and adults so they are not heard as separate choirs but reflective voices of the entire congregation. There are pieces written with this kind of incorporation in mind.7 Otherwise, a little creativity (original arrangements) goes a long way.8 For those who direct and teach children and youth, the mechanics should not be allowed to override the sense of being called to a ministry of music. It is wonderful how using the right words, such as "ministry," can change the child's perspective and empower him or her to sing for God.
What Should Children Sing - traditional vs. popular? My response is both, and the question becomes how to accomplish this. How does one find time to teach both traditional hymnody and music that is specifically written for children. This correctly implies that traditional hymns were not written with children in mind. The reason we do not neglect this particular style of music, or wait until they have become adults, is to begin the connection with the apostolic Church (the church that endures what is popular). The classic hymns convey a sense of Church that is bigger, older, and universal ("one Holy Catholic and Apostolic Church"). For this reason alone there is value for children to be present when hymns are sung well and with enthusiasm. But this experience can be greatly enhanced with a modicum of planning. When children gather for rehearsal, the hymn for the coming Sunday can be introduced. The children's anthem can be a hymn. Before the worship service begins (along with the announcements if they are placed here) children can be introduced to the hymn (while adults "listen in"). We do our children a great disservice and teach them they are not valued when they are present for worship and all of the music is "not for them." When the first hymn is being selected, keep the children in mind. With a little imagination the first hymn can be played and sung so it achieves its purpose of adoration for the entire congregation. Utilizing your critical eye, look about for other places in worship where music is being thrown away, for example, the music when children exit for their classes or the music when they enter for communion. If in fact it is traveling music, then it should be a song they can sing and enjoy singing. If it is a communion hymn or song, then the children should know it (learn it) and participate as do the adults in preparation for receiving the Lord's Supper.
By popular sacred music I am referring to the wide selection of music that is contemporary (in sync with the language and mindset of the participants). The lyrics and music are more accessible and informal. Whether traditional or popular, further consideration should be given to make the "anthem" be the children's sermon. Rather than having it stand alone, begin with an introduction, discuss it after it is sung, involve the entire congregation. In other words, let the anthem be an experience of the sacred, a proclamation of the gospel!
For those congregations that have a separate family worship service, or are planning to initiate one, I urge you to make music a core experience. Here you have the time and the latitude to teach and prepare so the singing and the clapping, the dancing and the playing, are meaningful. Greater attention can be given to age appropriateness - what strikes the chord for a four--year--old will not resonate with a fourteen--year--old. Remember, variety is also the spice for effective gospel-telling when the medium is music.
Where To Begin
The customary approach is to begin with the scripture text/s and its development into an adult sermon, then, to reduce it to a children's message. What is laudable is the unity it provides to the service of worship. It also helps to root the children's message in Scripture. The difficulty this approach engenders is the "reduction" it embraces. Here I would ask ministers and teachers to make a 180--degree turn. Instead of developing the gospel-telling from the top down, work from the bottom up. Don't reduce an adult theme - most likely drawn from a passage meant for adults - in order to make it understandable for children. Begin with the same Scripture text and think and feel as a child does. The reason for the reversal is this: Children live in a unique world and children of different ages inhabit different worlds. Magazines such as Time and Newsweek have recently featured articles about how the brains of adolescents are different. Perhaps something new is being learned as science maps the brain, but parents and teachers have always known teenagers to be a "species" unto their own. The same is true for children, though adults characteristically want to think of children as pint--size, underdeveloped adults.
I begin with the scripture passage; while this seems matter--of--course it is not always practiced. The alternative is to begin with the object or a creative idea or the hook which will catch their attention. From a practical point of view and personal experience, this is a sea of choices too big and the result is that I expend too much time trying to decide which fish to reel in. Begin with the text and then revert to being a child - if not your own childhood then children you know. Interpret it as they would hear it. Ask how it is relevant for the world they inhabit. You may find that the message is very different from its adult application. Resist the temptation to say something simply in the children's sermon that is meant for the entire congregation. Yes, we have all heard how much adults appreciate the children's message which says more about our adult preaching than our children's sermons (see "Overhearing The Gospel" for a discussion of working on several levels at the same time). Take the time to write down in a phrase the intent of the gospel-telling. Give yourself time for creative juices to flow. This rules out a Sunday morning run--about or prayers for divine intervention. Give some thought to the target age group.
A word about creativity. It can't be forced. It needs time to "brew." Rather than rushing about to find an appropriate object, ask what medium of communication is most appropriate for the message itself. A pantomime, for example, is fitting for the sermon "Overcoming Temptation," because temptation is an experience that happens in the quite recesses of our hearts and minds. If I choose the form first, without considering its relationship to my message, I may still be wondering what I really want to say on Sunday morning, or the sermon may come across as disconnected because the form (the creative impulse) and the content do not connect.
Developing Your Style And Tone
To a very significant degree the medium is the message, and in this instance the proclaimer is the primary medium. Fred Craddock states it eloquently: "When we respond we respond to someone" (Overhearing the Gospel, p. 43). A most revealing exercise is to ask a friend to observe you. Ask her to block out your voice in order to be more sensitive to other stimuli; the next Sunday have her screen out all visual stimuli in order to attend to the verbal quality of your sermon. In this way your observer will grasp a good sense of both the verbal and nonverbal situation you are creating. While you cannot control everything in the immediate environment, you can shape the context and yourself to affect a particular tone and style. In one way or another you will need the feed--back of an observer.
Tone has to do with more than just delivery. Ultimately, it raises questions concerning identity: who you are (How do you feel about yourself? How do you project yourself?), who you are in relationship to your audience (you are big, and they are small; you know it all, so they must learn from you; you are very much like them, yet very different; you are father/mother; you are intimate, you are distant); and who you are together (they are the exposed ones sitting in front; we are the ones having a private conversation; we are the ones sharing stories about God and ourselves). You may think of yourself as a "natural" with children, or you may feel awkward with them. Regardless of the validity of such a generalization, you can change many things once you begin to pay attention to the situation you create by the little things you do or don't do.
To a certain extent you will be limited by the particular physical circumstances of your sanctuary; but reexamine these factors, for they are important. To shape the more immediate context of the gospel-telling moment, start by asking what you want to communicate about yourself and this shared time with the children of your church. It will then be possible for you to affect such factors as physical distance (standing or sitting, at the same height or not), children facing the congregation or not facing the congregation, your dress (Do you always wear a robe or a stole and if so why?), the quality of your voice (Is it any different in this context? What does it project?), your use of physical contact (Do you physically interact; why or why not?), and your sense of time (Do you feel rushed/impatient or distracted?). Does your physical presence communicate: "I really want to be here"? You will create a particular atmosphere by the kind of style you choose: celebration, explanation, dialogue, or lecture. As a result the children will perceive the sermon as "their time," "your time," or "our time"; they will sense whether you are preaching or teaching at them or sharing with them. Remember, you are creating a total experience and the details add up.
Tone is important whenever we communicate, but it is even more important when we communicate with children, for they are intuitive observers of the unconscious and the unspoken. The content of a specific sermon may prove to be irrelevant or over their heads, but children always pick up on the tone of the message. Since younger children are less confident about their use of language, they give more weight to nonlinguistic clues. This factor can work both to our advantage and our disadvantage. On the one hand, we need not despair if children feel left out of a particular experience; the tone of a sermon can succeed when the content fails. The sermon "Baa--Baa" tells the story of the concern of a certain shepherd who searches for the one who has gotten lost. As it unfolds the story relies upon an allegory of a lamb named Baa--Baa (the child) and the good shepherd (God) who leaves the flock (safe and sound in their pen) to find the lost lamb. Before I told the story I did not presume the younger children would "catch" the analogy. But I did intend for them to be touched by the tone of the story - how it is told - and the shepherd's caring and the lamb's great worth. So at one level the sermon missed the mark, but on a tonal plane it succeeded. A similar example is the sermon "Death Comes To The Henry Family," because some of its concepts about life and death are too abstract for younger minds. Nevertheless, the emotive qualities of assurance and anticipation can be translated into verbal and nonverbal clues that children can experience.
Anyone familiar with the work of Jerome Berryman is sensitized to the importance of setting, tone, and tactile clues. Berryman provides detailed suggestions about how the teaching room is to be organized, how the teacher walks and speaks, the level at which the interaction happens. His intention is that children will experience God in mystery, awe, and wonderment in how we present ourselves. Berryman emphasizes teaching with space and time, or the rhythm of church school time, and together these become "the unspoken lesson." One other key component to Berryman's methodology is "the response of wondering together." In contrast to a question--answer format, the children first share a common experience (the story telling) and then are asked "to bring their own experiences into dialogue with the biblical stories ... so the children themselves have a way of making meaning and order in their lives" (Young Children and Worship, pp. 14--15). After the story of the Good Shepherd, the children might be asked, "I wonder how it feels to be lost," or "I wonder how the Good Shepherd feels about the sheep," or "I wonder who the Good Shepherd might really be." I highly commend what Berryman has achieved, for it is the one truly innovative approach to teaching/proclaiming in a long time. It certainly made me more aware of the physical environment, my movements, the rate of my speech, the use of nonverbal clues in order to affect a specific purpose. Wonderment and mystery are woefully neglected in children's sermons. This is particularly curious when gospel-telling takes place in the larger context of worship and the sanctuary.
Targeting Your Sermon
On most Sundays the minister sees before him a group of children ranging from toddlers to adolescents. Ideally, she would like to have a small group of preschoolers or third and fourth graders. But since the ideal is usually impossible, the minister should at least be aware of some basic differences in how children of different ages perceive and verbalize reality. As a general rule, the pastor should aim his sermon at the lowest common denominator, which would normally be first and second grades. Because it takes more effort to enter into a child's world, ministers too often address the older children because they are closer to their mental and verbal abilities. The negative result is an adult sermon reduced to pint size.
This business of focusing a children's message is not as difficult as it seems. A basic understanding of the developmental stages of children will go a long way. I make a threefold division: preschool, younger children, older children. Junior and Senior High are unique categories. There are, of course, more definitive classifications of development. Lawrence Kohlberg, for example, has identified six stages occurring at three distinct levels: pre--conventional, conventional, and post--conventional. Just a little time spent reading Kohlberg's theory of moral development (Moral Development: A Guide to Piaget and Kohlberg by Ronald Duska and Mariellen Whelan) or Margaret Donaldson's Children's Minds will deepen anyone's appreciation for the very distinct stages of development.6
Preschoolers. The most important generalization about pre--schoolers is their inability to understand abstractions or to make analogical connections. Words are not so much a symbol of some reality as a coequal representation of some specific reality. Attributes like "good," "red," "strong," "big" are embodied in the person or object itself. "Dog" is Spot down the street rather than all animals in the world with certain characteristics. Preschoolers may come to understand the cross as the thing on which Jesus died, but they will not grasp the Cross as a symbol of Christ's atonement for humanity. Consequently, teachers of the Word should watch their use of metaphors, allegories, complex stories. On the other hand, children of this age love role--playing, let's--pretend games, rhymes, and stories that are not allegorical (see, for example, "Stilling The Storm" vs. "Devils Are For Sale, Aren't They?").
The second generalization is that preschoolers think literally. They also do not distinguish well between fact and fantasy. Consequently, preschoolers will draw unusual conclusions from what they hear and see. The first time I told the story "Looking For The Devil" my daughter alerted me to the need to watch my language. In trying to tell why the Devil is not really a red character with a pitchfork whom we can blame for the bad things we do, I had innocently said, "The Devil is inside of you." Several weeks later my four--year--old asked me one night at supper, "Daddy, is there a Devil in my stomach?" By a process of literal association, she had come to the simple conclusion that if the Devil doesn't live somewhere outside, then "he" must live inside her, and where else but in her stomach - a conclusion made "logical" by the fact that she had a stomachache. It is this predisposition toward literalism that explains why preschoolers invariably misconstrue analogies, although ministers persist in using them. New Testament scholarship may have relieved us of this burden (if it is a burden of obligation rather than laziness) by demonstrating that most or all allegories were originally parables of participation which the Church turned into parables of illustration (see "The Story Form As Proclamation").
One reason preschoolers are so much fun to be with is their ability to move easily between a literal world and a world of fantasy. We love to read to them because of all the wonderful, zany books that titillate the imagination. So go ahead and try a few let's pretend gospel messages. Admit to your hesitation of associating the Bible with make believe. At the same time indulge the child who visits other worlds, the worlds C. S. Lewis created for the benefit of adults and children. Think of fantasy not so much as fiction or escapism but as a doorway into a world where dreams arise, fears are discharged, and all things are possible. Preschoolers will love it and love you if you will enter this world with them.
As adults we may find it strange that children do not share our fear of death - so strange that we continually try to protect them from seeing the signs of death. How quickly we forget that children do not see the world of angels and the world of decay as two irreconcilable realities. On the one side, they are remarkably down--to--earth (Who will tuck me in bed if Mommy has gone to be with God?). In their minds fact and fantasy are likely to be interchangeable, which explains why miracles and magic are neither puzzling nor awe--inspiring to preschoolers. One of the sermons in this collection, "Stilling The Storm," gives children the opportunity to sense and feel what it is like to be in a small boat in a big sea. Older children may be reluctant to participate because they have "adult" reasons not to believe they have an oar in their hands. It is too bad that the adult in us keeps us from this kind of "teleportation."
Younger or Elementary Children. After children enter school they change markedly. Among the most important changes is their need to demonstrate both to themselves and to their peers and parents that they belong and that they are capable of being independent. By age eight or nine their center of gravity begins to shift from home to school. Parents are often distressed by what their child is learning when away from home: from friends and peer groups, television, and from overhearing adults. The pastor is readily associated with those authorities from which the child is trying to separate and as a result is sensitive to preaching that is morally righteous and heard as "do this" and "don't do that." The virtue of being different because one is a Christian is heard as an invitation to be seen as different and thus standing alone. By far the most realistic situations are ones where elementary school children are conscious of peer interaction (see "What To Do With A Chocolate Chip Cookie?"), where children of the same age act out their real--life tensions (see "Show Me How Strong You Are"). The most effective communication flows in and through the group, in contrast to communication which is directed at them and flows from the minister/teacher to them.
Older Children. The older child (grades 4, 5, and 6) intensifies the traits of younger children but is more interested in mastering and controlling reality. After school activities are less play and more testing, getting ahead, and finding oneself. Peer pressure becomes more intense. Both boys and girls are able and eager to distinguish clearly between reality and fantasy. Video games, television, and movies are more than escapism; they are ways of "acting out" and projecting who they might be. Magic becomes intriguing because just as they have figured out some basic rules about the universe, someone comes along and seems to defy them. At the same time they are less interested in the world of make--believe and more likely to identify with the "real" people of MTV and sports. "Let's pretend" now seems childish but role--playing is still acceptable if the roles are realistic. In fact, role playing can be very valuable, since it provides older children the opportunity to experiment with what it will be like to be older.
Children have a limited perception of time and the teacher in each of us becomes frustrated when children make Moses and Jesus contemporaries. We must continually remind ourselves that for preschoolers time is nothing more than a patchwork of uncoordinated events. Even during the middle years of childhood, time is limited to the narrow span between the birth of a baby brother and the death of Grandma. It is only in early adolescence that they can put into perspective 2,000 years of biblical history and 2,000 years of church history. Thus, we might as well wait until junior high or high school to separate the prophet Isaiah from the Apostle Paul and concentrate instead on what a prophet or a disciple does.
Watching Your Language
No matter what the age group, watch your language. Take nothing for granted. A simple explanation of a key word is one way of getting into your theme. (See "A Prince In Disguise," where the word "disguise" is first explained.) Children do not live in a biblical world and therefore have a limited understanding of words like "reconciliation," "righteousness," "repentance," "salvation," "covenant," "shepherd," "disciple," "grace," "sin," and "holy." Consider for a moment the story of the Good Samaritan. The meaning of this story depends upon an understanding of who a Samaritan was in the eyes of those who passed by on the other side. I am still struggling with a suitable parallel. "A person with AIDS" once worked very well and avoided a lengthy explanation of Samaritan. Sometimes the listener needs to be prepared for the telling of a story in order for the experience to be recreated. Everything may hinge upon the meaning of a single word. Occasionally there are sermons that require us to prepare the setting, as would be the case in any of the biblical stories regarding a leper. Otherwise, the gospel of God's grace and inclusion is not an experience but a lesson to be heard and forgotten.
Most of us know of at least one humorous story about a child who misunderstood a word and came up with an preposterous interpretation. I once referred to Jesus as being of the house and lineage of David. Then realizing they didn't have a clue of what was meant, I added that Jesus was a descendent of King David. Later, a girl approached me hesitantly and said as politely as she could, "Mr. Coleman, I'm sure glad Jesus descended from David and not into Hell." Often we unwittingly choose words that reflect a dualism that we do not intend; for example, we may casually refer to "God up there" or "the Devil down there." Since children learn as much, if not more, from our mistakes as from our good intentions, we must be on guard - particularly of the more insidious forms of dualism inviting children to picture God as up in heaven (wherever that is) and therefore could not possibly have anything to do with what happens on the school playground. We undermine the Christian faith when we use a distinct biblical language to convey what was originally proclaimed in the vernacular. Rather than talking about sin as a doctrine or a concept, why not talk about sin as children experience it? If we inherently have difficulty associating sin with children, then we need to remember that "overreaching" is a human characteristic which develops in tandem with the maturation of the ego. I have yet to meet a child who knows what it means when told that Jesus died for your sins. What does the Cross have to do with the unmerciful teasing of my brother, a child wonders? More than 2,000 years separate American culture from a Jewish Messiah, and repeating the well--worn phrases will not build any bridges. We need to forgo attempting to translate those lofty doctrines and symbols we finally understand after a college degree and several years of theological training. If, instead, we utilize those common experiences that bind all humans together, we will discover that we do indeed speak the same language.
An effective way to rethink the language you use is to ask children to draw a picture of God and another picture of God doing something. This may be an appraisal of their entire church--life experience, since they are learning stories, absorbing sights and sounds, and fashioning mental images from everyone and everything they encounter. The story of the talents in Matthew 25 is a reminder that Jesus paid more than scant attention to correcting the wrong image of God (in this instance the critical, demanding, unforgiving depiction of God; see the question mark at the end of v. 26). Yours will be the uncommon congregation if the children (and adults) draw pictures of God, Jesus, or the Holy Spirit in the midst of their daily lives.
Heart, Mind, And Spirit
There is a holism in being human and there is a holism in the gospel to be proclaimed. We are told to love God with all our heart, mind, and soul (Deuteronomy 6:5; Matthew 22:37). Jesus, we are told, grew in wisdom (mind), stature (body), and favor with God (spirit). Therefore, let there be a holism in what we proclaim to children. One message will speak more to the mind, another more to the body, and another more to the spirit.
For some reason the YMCA's logo - - made an early impression on me. It was important to me, and still is, that I nurture my body, mind, and soul. I also learned the "Y" was better equipped to help me grow in body, the school in mind, and the church in spirit, but that is not to say these institutions did not value all three dimensions of being human. We who labor within the church and for the sake of the gospel should, nevertheless, seek "God's kingdom and righteousness" above all (Matthew 6:33). But that does not mean there is never a gospel word for the body or the mind. The Jesus of the New Testament takes almost no notice of such distinctions. He encounters each person at his or her deepest need: the woman with the flow of blood of forty years, the inquiring Nicodemus, the young man asking what he must do to have eternal life. It wasn't usually the Good News they expected or wanted to hear, and that is the way it is with the Word that transforms.
Children are growing. That is, they are unceasingly changing and becoming. This can both drive us crazy and energize us. We see in them an unbridled enthusiasm for the world God made, an almost naive willingness to love others, and a love of God that emanates from "one fresh from God." We are called to be a part of whom they will become. In no small measure they will become what they see in our hearts, hear from our lips, observe in our actions. When all is said and done what matters most is how we live the gospel in our bodies, and in our hearts, and in our souls.
Music
It is not necessary to extol the power of music, especially in the lives of the young, or defend sacred music as a legitimate expression of the Christian faith. Music appears to be hard--wired into the soul of every human being, though it can be damped by cultural influences. It has a certain simplicity and directness that verbal communication often lacks. When the words are simple and the tune is catchy, songs have a staying power that rival stories. Beginning with the premise that music is a powerful way to convey the gospel, the question is how and to what end.
To what end? Most congregations have some type of musical program for children and/or youth. The children's or youth choir is typical; the purpose is to provide an occasional anthem. Everyone loves to see and hear them standing in front and are anxious to let them know, usually with applause, that they are appreciated and valued. It is time to take a more critical theological look at what is going on. When their role is to provide a musical selection (anthem), then what is the purpose of the anthem in a specific worship context? The drift toward entertainment is always present and in spite of our resistance the pull is considerable. The larger question concerns the role of the choir regardless of the age of the participants. The cardinal rule is this: sacred music inspires (uplifts) the soul, teaches the heart to love the triune God, and can be a religious experience in and of itself. In short, sacred music embodies the gospel. The role of the choir, then, is to help lead worship by inspiring, consoling, welcoming, sending, teaching, proclaiming, and above all else, glorifying God.
To achieve this end, preparation is the necessary ingredient. To prepare a children's anthem, perform it, and move on to the next occasion is to short circuit the very purpose of sacred music. Good preparation includes the right attitude, a clear sense of purpose, a feel for the rhythm, an understanding of the content. When children sing or dance or play musical instruments within worship, they become worship leaders. What specifically is their purpose and how they lead worship on a particular Sunday depends upon the selection and where it is placed. It is common sense to appreciate that a solemn selection requires a different preparation from a joyful (bordering perhaps on silly) piece. Yes, the sacred can be silly when it incites a smile or causes a hint of self--recognition. When music and children are the medium, you have a combination that is potent. How can we not thank God for child--like innocence, boundless energy, exuberant joyfulness, and songful voices to tell the Good News?
How? The possibilities are great. Different congregations are trying rhythm or percussion instruments (also known as Orff named after a particular kind of rhythm instrument), wind ensembles, Kazoo "bands," as well as hand bells and choral groups. A number of excellent how--to resources are available, such as Children Sing His Praise: A Handbook for Children's Choir Directors (edited by Donald Rotermund). A better effort can be made toward integrating children, youth, and adults so they are not heard as separate choirs but reflective voices of the entire congregation. There are pieces written with this kind of incorporation in mind.7 Otherwise, a little creativity (original arrangements) goes a long way.8 For those who direct and teach children and youth, the mechanics should not be allowed to override the sense of being called to a ministry of music. It is wonderful how using the right words, such as "ministry," can change the child's perspective and empower him or her to sing for God.
What Should Children Sing - traditional vs. popular? My response is both, and the question becomes how to accomplish this. How does one find time to teach both traditional hymnody and music that is specifically written for children. This correctly implies that traditional hymns were not written with children in mind. The reason we do not neglect this particular style of music, or wait until they have become adults, is to begin the connection with the apostolic Church (the church that endures what is popular). The classic hymns convey a sense of Church that is bigger, older, and universal ("one Holy Catholic and Apostolic Church"). For this reason alone there is value for children to be present when hymns are sung well and with enthusiasm. But this experience can be greatly enhanced with a modicum of planning. When children gather for rehearsal, the hymn for the coming Sunday can be introduced. The children's anthem can be a hymn. Before the worship service begins (along with the announcements if they are placed here) children can be introduced to the hymn (while adults "listen in"). We do our children a great disservice and teach them they are not valued when they are present for worship and all of the music is "not for them." When the first hymn is being selected, keep the children in mind. With a little imagination the first hymn can be played and sung so it achieves its purpose of adoration for the entire congregation. Utilizing your critical eye, look about for other places in worship where music is being thrown away, for example, the music when children exit for their classes or the music when they enter for communion. If in fact it is traveling music, then it should be a song they can sing and enjoy singing. If it is a communion hymn or song, then the children should know it (learn it) and participate as do the adults in preparation for receiving the Lord's Supper.
By popular sacred music I am referring to the wide selection of music that is contemporary (in sync with the language and mindset of the participants). The lyrics and music are more accessible and informal. Whether traditional or popular, further consideration should be given to make the "anthem" be the children's sermon. Rather than having it stand alone, begin with an introduction, discuss it after it is sung, involve the entire congregation. In other words, let the anthem be an experience of the sacred, a proclamation of the gospel!
For those congregations that have a separate family worship service, or are planning to initiate one, I urge you to make music a core experience. Here you have the time and the latitude to teach and prepare so the singing and the clapping, the dancing and the playing, are meaningful. Greater attention can be given to age appropriateness - what strikes the chord for a four--year--old will not resonate with a fourteen--year--old. Remember, variety is also the spice for effective gospel-telling when the medium is music.
