I don’t know that I have ever “unpacked” how I do theology because I don’t necessarily think of myself as a theologian, although I guess we all are. I want to borrow an idea from Inese Radzin’s introductory theology class, though I can no longer remember the author (If someone can throw their name in here, I would appreciate it). In essence, the author suggested that theology was like jazz… a continual improvisation. Each theologian whose works I “consume” is internalized-- at their best, theological works sink into your bones the way that music does and animate your soul/s with desire for movement or expounding. Some theological works are ones I want to “cover”-- they merit that repetition with critical difference or maybe repetition with a lens that isn’t particularly critical, but a slight re-working of the performance for our particular vocal chords, soul, and audience. As much as I love Amy Winehouse’s “Rehab” or The Fugees’ “Killing Me Softly,” I sing them differently than Amy and Lauryn because I see different opportunities in the melody or have different vocal limitations and/or gifts.
Once I discern a meaning that is life-giving (or a resistance that is life-giving), I try to riff on that and play with symbols in a way that makes it mine and make it a piece of music I want to share with others.
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