A PASSAGE INTO COMMUNITY - CLAIMING THE PAST, EMBRACING THE PRESENT: TOWARD A TRANISCULTURAL TWENTY.FIRST CENTURY WORSHIP IN LONG BEACH, CALIFORNIA A dissertation presented to the Facuþ of Claremont School of Theology In Partial Fulfillment of the Requirements for the Degree Doctor of Ministry by Jane Galloway IÙl4ay 2004 @ 2004 Jane Stormont Galloway ALL RIGHTS RESERVED This professional project completed by J¡.xn SroRnnoNT GALLowAY has been presented to and accepted by the faculty of the School of Theology at Claremont in partial fulfillment of the requirements of the DocToR oF.MINISTRY Faculty Committee Jack Coogan, Chairperson Michael Mata Dean of the Faculty John R. Fitzmier I|llay 2004 Table of Contents Page Chapter 1. Introduction I Background of the Rite of Passage Project 7 2. Definition ofthe Problem 10 New Directions t2 3. ..16 Review ofliterature Naming 31 4. Methodolory: aDescription ofthe Event 44 5. Project Evaluation 51 Follow-up Questions 51 Findings and Interpretations 52 Epilogue 65 Appendixes A. Order of Worship 69 'Worship B. Leader's Narrative 72 C. Fromthe Historic Sermons and Writings of W. A. Criswell 77 D. H'artWorks Mission Statement 81 E. A Passage Into Community 82 F. Long Beach, California Demographics 86 Bibliography 87 ll I CHAPTER 1 Intrtduction In October of 2000, one month before my official ordination as an Aûican Methodist Episcopal Church deacor¡ I was called to a failing, nearly*dead, all-white American Baptist church in Long Beach, California. The irony ofthis circumstance is that while I amof Scots-Irish and GermanAmerican extraction, I was called to ministry na9f/o African American denomination. I struggled with this non-traditional call. I quit the proccss twicc. I finally surrendered to what proved to be the undeniable call of God in my life, thinking that I would possibþ end up teaching at the oollege level, as I could not fathom how I would be sent to an AME church before an African American \ryoman would. I was looking forwatd to teaching, I was teaching, in fact, in the Human Services Department of a local college. And now I was being called to a dying, neady- dead white Baptist church. Numerous attempts to wriggle myself out ofthis ministry failed. My senior pastor from the large AME church in downtown Los Angeles known as FAME (First AME), Rev. Cecil Murra¡ heæd my protestations: that this was a little band of cold, wounded white folks and I was a brand new, white AME minister - what could I possibþ have to offer? Rev. Munay told me, "Child, you get a cold congregatio¡b you don't CATCH a cold, you take a sweater. These people need you. You need to go." So I went. Fifty years ago, Long Beach w¿ß an almost-exclusively white community. Because ofthe large nurnber of immigrants from lowa, the city was called "Iowa-by-the- Sea" for many years. Until the late 1960s, ayearly Iowa Day Picnic was held in one of 2 the many lovely public parks. Until 1928, there was also a yearly march of the Ku Klux Klan, in full regali4 down Ocean Boulevard. The community is in great flux. The o'most federal census of 2000 the city was named the multicultural city in the United States." In fifty years, Long Beach had changed from an enclave of white conservatism to a city that is home to the largest number of Cambodians outside of Phnom Penh, the secondJargest gay and lesbian community in the state of California and to a large and growing African American population - both in the formerly all-white North Long Beach area as well as in the last bastion of a"retreating white minority:" East Long Beacl¡ where Immanuel Community Church is located. Immanuel Community Church was formed in 1913. Its current building was built lrn1922 in an all-white upper middle-income area ofthe city. The money to build what became one ofthe city's beautiful landmark buildings came from families who were newly prosperous (rich, even) because of the discovery of oil on Signal Hill, then part of n the city of Long Beach. In his novel Oil, Upton Sinclair tells the story of the 1920s Long Beach. Former neighbors become enemies because one discovered oil under their property and their neighbor did not. Newly-rich families flaunted their wealth in the Íxmner of a present-day lottery winner gone mad. ln 1922, the real life counterparts of these fictionalcharacters built Immanuel Baptist Church. Revival fever was sweeping the country, Aimee Semple MacPherson was saving sinners in Los Angeles and large churches were being built all over the then-prosperous downtown section of Long Beach. Immanuel Baptist was one of these. In Immanuel church bulletins from the Depression era, there are notices of lively contests among the city's white Protestant congregations for attendance prizes. One a J Sunday, First Presbyterian rang in with 500; Immanuel had 402. The Immanuel bulletin the following Sunday challenged the Baptists to beat the Presbyterian record. White Protestant ecumenism - if not racial or cultural pluralism - was alive and well. In October of 2000, I was asked to preach for the remnant congregation of Immanuel Community Church, which had changed its name while retaining its American Baptist affliation. Ten people were in attendance the first Sunday I visited, and about the same number the next time I preached. Membership records for Immanuel show that the last real numbers of active church members date back to l970,when a 50th Anniversary program was printed and a celebration was held for several hundred membçrs. Then, the world changed. The Viet Nam War was at its height and U.S. baby boomers were coming of age. Hippie drug culture, mass rock concerts and "be-ins" took over the place ofmore conventional houses of worship for the generation that would have been expected to carry the church into its next years. The white Protestant churches in Long Beach emptied out. Over the years since that mass exodus from mainstream white orgaruzed religion took place, Immanuel shifted with the cultural tides. Several Baptist clergy, about to retire and with little imagination, interest or enthusiasm for building ministry, showed up on Sunday mornings to preacþ collect apay check and leave. In-fighting eroded the congregation further through the next decade until, in the late 1980s, the congregation decided to go outside the Baptist circle to find some pastoral leadership. This proved to be both a near-disaster and an opening to renewed life. One extremely fundamentalist pastor blanketed the neighborhood with tracts about hell and damnation. Another ltørd a 4 criminal past that was discovered only as his character deficiencies began to infiltrate all elements of his "mirìistry." Neither ofthese men had been educated for ministry in a formal way and neither had a larger body to hold them accountable. In order to be able to afford to stay in their churcl¡ the congregation began renting out the unused portions ofthe formerly-alive building to different groups, taking no notice of theological or political issues. As a result, the building in which I found myself called to do ministry housed a motley crew of semi-cults: the International Church of Christ, two Spanish- speaking Pentecostal churches, and an MCC congregation about to splinter offfromthe more progressive larger MCC body into a Pentecostal fundamentalist group called Glory Tabernacle. The only unifiing principle of the groups was that they all paid rent. I initially agreed, reluctantly, to help the small, wounded, contentious, fractured, difficult group that called itself Immanuel on an interim basis - until it became stable. During my first six months, I tried to help them unravel alegal situation with the increasingly right wing fundamentalist regional body of the American Baptist denomination, which was trying to steal the property from the congregation, sell it and be done with ministry on this site. By the end of the six-month interim period, I had come to know and love the group, made up ofvery brave, mostly elderly members and one younger gay couple who were also members. At that point, I agreed to stay on as the full time pastor, to work at restoring ministry to the community I had come to love. The first year of the ministry work was a struggle. It was almost impossible to convince the resident congregation that we could survive without being a big rental 5 property. This has continued to be a challenge, but we are making progress. The search for a unifiing vision which might become a magnet for groups that reflect and further a conìmon vision of Immanuel - rather than a mish-mosh of zealous itinerant congregations - became foundational to our first year. It became clear that the rapid shift from white "Iowa-by-the-Sea" to the most multicultural city in the U.S. provided us with a challenge. We needed to find some languagethat might span cultural divisions, both in worship and theologies as well as in darly life, which could put us in dialogue with the larger Long Beach community. My background is in the arts. As a professional actor,I met with significant success in theater, television and filrn for 25 years. I also worked as a drama therapist for several years as I made the transition from anactrng career into ministry. I know the arts (fine art, theater, filr4 music) hold the potential for reaching the intermediate realms of consciousness, the unconscious level on which people are less programmed by their conscious cultural conditioning. Giving kfe to the idea of using the arts as a kind of metalanguage through which we can grow into a multicultural worship community - and through which we might reach out to the larger community proactively to open dialogue across areas of misunderstanding - has become alarge part of the focus of my D. Min. work at Claremont School of Theology. During the course of this project, the metaphor of the open door between the earthly realm and the seat of heaven in Revelation 4:l has emerged as a biblical metaphor for the intermediate realm in which the arts live. The prophetic vision that John perceives as an open door can be understood to represent a doorway between the present 6 and the eternal future, a gate between the earthly level of awareness and the realm of God, a p¿Nsageway through which the Spirit travels in order to access the teachings of Spirit. This doorway is a place where art and ritual can combine to create a change, through which a Spiritual rite of passage may move. 'We also recognized that a sense of the Holy, of the church as a place for the experience of the Sacred, had been replaced by a sort of social club mentality. During the first year, we began to use art programs as a key to access Spirit, to create a climate for the experience of the Hol¡ and to build community. We incorporated the former ARK (Artists Reaching Kids) Gallery into our programwhen they were closing up shop due to lack of funding. The director donated all ofthe art supplies, art tables, chairs, and ideas, which enabled us to convert one very depressing deserted basement room into an alive art room and allowed us to provide the only art instruction for 75 students from Horace Mann Elementary School across the street from the church. Additionall¡ through the creation of the Third Street Project, we have replicated the Virginia Avenue Project, which is located in Santa Monica, California: pþ offering creative dramatics, writing and long-term mentoring for neighborhood youth free of charge. We house the Long Beach Unified School District's Aduh Community Transition Program for youth 18-25 who need mentoring and training to 'We become employable and selÊsufficient. have also held a Sober Rave, complete with drug educatiorç and a hip hop break-dancing contest for 250 youth in conjunction with a city-wide campaign to empower and provide creative alternatives for our at-risk youth.