In Maria Harris’ Fashion Me A People, Harris reflects on how we are educated to pray and we are educated by prayer.  This education is not limited to simply the church, but is happening in all places throughout all facets of our daily lives. It is this education by prayer and learning taking place in the seven songs, group one focused on. We contemplated, reflected personally, and discussed the three forms or curriculum which are presented, implied or left out in these songs.

*Song One: Where were you when the world stop turning, written and sung by Alan Jackson

It was evident in our group deliberation of this song, we came to the table with varying opinions and experiences. Some took the explicit teaching in this song to be Jesus gave us faith, hope and love, and love is the greatest gift. While other experiences influenced those who felt the song was manipulative and offensive, therefore the explicit teaching of this song frames the belief that America is at the center of all things and was used by political bodies and others as a medium to get what they wanted, in reference to the Iraq War. Our thoughts on the implicit and null learning also varied:  what happened on 9/11 being not of God, returning to simpler times, excusing lack of education, a view of Jesus being on “our” (American) side, to remembering the tragedy were all examples given for implicit learning. We felt the null learning in this song included: only the tragedy on 9/11 was exclusively at the World Trade Center, the lack of clarity in what could be considered an explanation of what motivated the 9/11 attacks by the song writer.

The learning curriculum we developed in our deliberation was coherent in that our offerings came from personal experiences and deeply reflective opinions. What made the learning coherent also worked against each other in the lack of coming to a consensus. This song as a prayer and our discussion speaks to leaders and teachers in (not limited to) faith settings to be more discerning and thorough in our teaching as well as engaging critical thinking components in our teaching and quite possibly our praying.

*Song Two: Ordinary Miracle, sung by Sarah McLaclan

The explicit teaching in this song could be that everyday we witness miracles in the ordinary natural occurrences. We felt the implicit learning reveals the idea that miracles tend to be viewed as big, life changing events, rather than simple, natural occurrences. We also spent time in dialogue about how the lack of mentioning God in creating the miracles could be an example of null curriculum. We attributed the miracles to God, yet also came to the understanding that often we are able to find God in what could be considered by some as “ungodly” or “secular”. The curriculum is then coherent in naming miracles do happen, it is the claim of whom or what is attributed to the miracles and the significance of this attribution that works against the three curriculums.

 * Song Three: Where is the Love, written and sung by the Black Eyes Peas

The rhetorical question, “where is the love?” is revolve in our definition of explicated curriculum. In the song, we are learning the reality of the world being full of hate, anger, and discrimination. The implied learning is love and truths are not in the previous named realities of the world. We concluded the null learning would support the idea of needing guidance from above, turn our hearts to prayer, doing justice because we are doing enough.  The learning curriculums in this focus point seem to work against each other on a surface level, but with great analysis the explicit and implicit learning illuminate the need for the message of the null curriculum.

* Song Four:  My City of Ruins, written and sung by Bruce Springsteen

The intended teaching in this song could be when we are broken and have fallen down we can rise up with God’s help. The implication then could be to think of why we have fallen down and God’s role in it, if any. The null learning would be we only need to pray when we are in desperate need. All  the curriculum illustrate our response in the state of complete brokenness. Do we pray for strength, question God’s motives, or wait until all else fails then pray?  The implicit curriculum could leave to further discussion on the effects of free will or God allowing brokenness and suffering, a topic in which we will meditate on throughout our journeys as church leaders.

*Song Five:  God’s song, written and sung by Randy Newman

The explicit learning in this song asks us why we put our faith in God. The God portrayed by Newman seems cold and calculating and only loving us because of our dependence on God. The implicit learning can draw us to the nature of God and the possibility that God is responsible for all evil. The null curriculum leaves us questioning who is God and can there be differentiating views on who God is? The set of curriculum form a platform where we can explore the image and descriptions of God. We can also uncover our bias’ of preference of law and gospel, if we have any.

*Song Six: Jesus Walks, written and sung by Kayne West

The explicit lesson in this song is that God is present with those who suffer in this world. One gets the sense the implicated lesson is rappers, especially West, would like to proclaim Jesus in their music, but are silenced by producers and music executives. The reasoning being rapping about Jesus is not cool and Jesus doesn’t sell to particular audiences. Another implicit message is held in the worry of West about not maintaining conversation with God and the believed effects that could hold. In our discussion the mention of what the null learning in this song would be, seemed to enforce and relate to an implicit lesson.

* Song Seven: The Story, written and Sung by Brandi Carlile

The explicit message in this song supports the need and desire to have a relationship with God, and it implies God knows us better than anyone else. It is in our suffering and brokenness we come to experience God’s love and healing. Again, the actual naming of God as the one we are made for was left out, but as posted earlier in previous summaries, we felt God could be the recipient of the prayer. These curriculums in this particular song bond well in establishing why we desire to be in a relationship with God, only in the null could it emphasized our ability to replace or name someone else or something as our intimate knower, rather than God.

In conclusion, as a group we never got to the Nurturing Faith handout, in the given time period and because of the in depth discussions on learning within particular songs. I can only speak for myself when I state I feel most of these songs would likely fit starting with the ages from 13 to 15. However, I would emphasis the high school student, young adult, and adults being the primary groups of these focal points.  I could see my 29 year old brother enjoying discussion on Kayne’s song, yet see total confusion on the face of my 55 year old father.  I think once youth can start to think in the abstract and are examining their faith in light of their life experience we are able to use these focus points to teach about prayer.

This is not in reference to our particular assignment, but rather the physical exercise on prayer.  If the exercise on the Lord’s prayer was of interest to you check out signchido.com.  This is a mind, body, and soul exercise which uses chi flow, breath, posture and some physical movement to create a overall sense of well-being and emphasis prayer. I have facilitated these exercises with people of all ages (it can be done seated). It is truly the art of moving prayer.

summarized and posted by Rebecca Breddin

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