the vg-r collective

As promised, here are some final additional thoughts on the Messiah College Faith & Popular Culture Conference.

• Over Thai food at dinner one night, someone asked about the place of evil in the discussions at these conferences. There's a lot of talk about "good" art and looking for truth, but what about evil and sin? One of the examples he raised as an example of extreme evil was rape. What does "discernment" look like in the face of so great an evil? In this particular example, I think discernment involves realizing that the action is a distortion of human sexuality, which God created good. But in the context of the general question, I wondered what the role of confession might be at a conference like this. Certainly, some art has a confessional quality to it, but the content of that art is not the content of the conference. Also, I wondered about the role of suffering. If Jesus is God, who becomes human to show us the way through suffering to eternal life, how does suffering relate to the discussion of discerning "popular culture"? Is suffering, in the context of the conference, just an abstract concept represented in art to be deemed true or untrue by us detached discerners or does suffering have implications for the conference itself? It seems like attentiveness to suffering as its manifested in our own lives is essential for understanding sin and evil as artists represent it in their work.
• There seemed to be a very vague understanding of what makes culture "popular," meaning "popular" culture mostly ended up being "things we like" or "things we're currently into." With the exception of U2, there was little discussion of other art that could be considered statistically popular. So what do we mean when we hold a conference on faith and "popular culture"? Should we be talking about Ashley Simpson and The Wedding Crashers? Who decides what work has value for these discussions? I'm not saying that the conference would look any different if we discussed these questions--perhaps popularity and value are assigned by the informal participation of the conference community--but I do think we need to go a step further in defining "popular" and articulating the process of selection.
• Another question that came to mind as we progressed through the weekend was: where are the women? Two out of perhaps 10 speakers were women and 1 out of 6 performers. Not that I care to start bean-counting when it comes to gender, but the situation was noticeable--also in the lack of women participating in the comment times and mentioned as examples of artists who are "getting it." What is it about the nature of this topic that's more appealing as a participatory experience to men? Is there still a tendency to hold women to a higher standard in their scholarship, hence they're less likely to be invited or participate? Is the communication style of women ill-suited to the topic? Is there a perception that a female will have fewer compelling ideas or ideas that will be received with greater skepticism by both male and female listeners? Is there some power element to cultural engagement that makes it more appealing to men as a concept and a practice? I'm not sure what to make of this, but it would be worth discussing I think. In talking about it with someone, he suggested that I host a separate gathering just for women at the next conference. Definitely not a long-term solution, but it's worth thinking about, especially as there are some aspects of being a woman that bear discussing in the context of faithful engagement.
• The unique nature of a conference struck me at this event, particularly in contrast to the sort of 24/7 online work that *cino is doing. There is value in creating a resource that is available whenever, wherever, but there is also unique value to an event that spans an identifiable period of time. A conference is more likely to be remembered as a crucial turning point than a visit to a web site. Also, there is no substitute for cultivating face-to-face relationships. These thoughts convinced me that *cino needs to get back in the gathering business. Thankfully, one of our friends who just moved to a farm in Ontario contacted me the day after we arrived home from the conference with a desire to co-sponsor and plan an event next summer. So watch for more details, if you're into that sort of thing: outdoor experiences, late night discussions, connecting with kindred spirits, story telling and hearing, etc.