Literatura académica sobre el tema "Canton Villages Mission"

The article is devoted to the Christianization of the Vyatkа Udmurts under Bishop Veniamin (Sakhnovsky). This bishop was the second, after Bishop Alexy (Titov), the Vyatka archpastor, who spread Christianity among the Udmurts. His missionary activity is considered before and after the establishment of the Novokreshchensk cantor. Some historiographic conclusions concerning the practice of Christianization in the Volga region are specified. The question of financial support for the Vyatka mission by the state is raised. Correspondence of Bishop Veniamin with the Holy Synod on the material support of the Vyatka mission is published. The personal contribution of Bishop Veniamin to the process of Christianization of the Udmurts is noted: bishop trips to the Udmurts, the foundation of the first Novo Baptist parish in the village of Elovo, allocation of his own funds for the organization of missionary work. One of the sides of the bishop’s activity was the protection of the Udmurts from the oppression of the Karin Tatars. The result of the missionary work of Bishop Veniamin was the organization of Novokreshchensky parish in the village of Elovo - the first one in the history of Udmurts.

The 21st century is marked by the exponential growth of Christianity in the Global East beyond Christendom. In the last thirty years, Canaan Hymns ( jianan shixuan, 迦南诗选), over two thousand indigenous songs composed by a rural woman named Lü Xiaomin (吕小敏, 1970–) have spread and been sung from the underground to the world. They have become a hallmark of the Chinese church and mission movement beyond the borders of the Mainland. Coined as “God’s gift to China,” Xiaomin, a junior high school drop-out without any musical training, wrote these songs inspired by the Holy Spirit from the village fields of northern China. Despite ample video clips and documentaries of Xiaomin and Canaan Hymns being made available online, scholarship on their missiology has been underheard and underdeveloped. Drawing from the methodologies of “lived theology,” “grassroots theology,” and “biography as theology,” this article studies the formation, themes, and styles of Canaan Hymns through textual analysis, literature reviews, and interviews. In conversation with missiologists and theologians of the West and Asia such as Bosch, Moltmann, and Chan, a grassroots missiology that is contextual, pneumatological, and communal is discerned and articulated. In doing so, not only voices from the margins are heard and brought into global conversations, missio Dei is also given new meanings and significance in the context of the contemporary indigenous mission movement.

David O. McKay’s return to New Zealand was punctuated by several reunions, one with his travel companion Hugh J. Cannon, and others with members and missionaries he met on his earlier visit. McKay and Cannon visited Maori villages, the Maori Agricultural College at Korongata, and member congregations around the island. Impressed by certain church leaders and their families, the Maori people and their culture, and the enterprising missionaries he encountered on this leg of his journey, McKay noted several outstanding challenges facing the Maori Agricultural College. The two visitors remained in New Zealand from July 18 to August 2, 1921. From Auckland, the pair set sail aboard the SS Ulimaroa for Australia, their final stop on their tour of the church’s Pacific missions.

Abstract The initial idea was to create an overview of jazz (and jazz-related) records from 1900 to 2001, by choosing one work to represent each year. After several weeks of revelatory listening to music from the dark ages— rags, marches, cakewalks, blues, minstrel and music hall turns—in an attempt to find appropriate tracks for 1900 to 1920, I realized that the project would have to be abbreviated. I had bit off more than I could chew or the Village Voice could accommodate. This particular fit of madness has now passed, and I don’t expect to fill in the missing years any time soon. Even with the narrower scope of 1945 to 2001, I spent nearly five months groping for solutions to the labyrinth I was intent on building; the writing was, relatively, a snap as compared to the process of selecting representative recordings, given my self-imposed rules, about which more anon. I wanted, for my own illumination, to posit a jazz map. By opting for one track (always a track, never an album, though albums on which the tracks are found are noted at the end of each entry) per year, I hoped to offer a purview that would balance achievement and innovation. Given my rules, however, I soon realized that nothing remotely like objectivity studio. Nash, the soul of sideman dependability, presented this memorable quintet in at least one New York concert, but it survives as a recorded feat of genre-defying eclecticism—a bright idea, brightly done. Debussy’s clarinet exercise is augmented by Nash’s resourceful voicing and an instrumentation that cannot help evoking tangents.