TowardsanIndigenousTheologyofWorshipinAlaska:AStudyofRecentEffortstoSelf-contextualizetheArtofYupikEskimoDancing

JohnFerchVPforAcademicAffairs

AlaskaBibleCollege

PresentedSeptember16,2017EvangelicalMissiologicalSociety

Dallas,TX

I. Introduction

Thisstudywillexploretheissueoftheyuraq,or“EskimoDance,”intheYupik

Eskimochurch,andspecificallytworecenteffortsmadebyYupikbelieverstoself-

contextualizethishistoricallyimportantculturalformasanindigenousexpressionof

worship.Earlymissionariesforbadetheyuraqduetoassociationswithshamanism,with

veryrealtiestodemonization.Today,asindigenouschurchleaderscontinuetoemerge,

therehasbeenanefforttoapplymissiologicalprinciplesofcontextualizationintheirown

communities,resultinginastrongargumentforaChristianformofyuraqasanactof

worship.

Thisisadescriptive(asopposedtoprescriptive)studythatwillevaluatethework

oftworecentYupikseminarygraduatesinlightofPaulHiebert’sfourstepsofcritical

contextualization.1Inotherwords,mypurposeisnottotelltheYupikchurchhowto

1PaulG.Hiebert,AnthropologicalReflectionsonMissiologicalIssues(GrandRapids:Baker,1994),88-91.

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worship,butrathertodescribecurrenttrendsinYupiktheologyinlightofanestablished

andacceptedmissiologicalparadigm.

Thestudywillbeginwithahistoricaloverviewofthetopicoftheyuraqfromboth

anthropologicalandmissiologicalperspectives.Considerationwillalsobegiventothe

questionofcontextualizationingeneralwithinnorthernindigenouscontexts.Oncethese

foundationsareestablished,attentionwillturntotheworkoftwospecificindividuals,

CynthiaPeteofStebbinsandDaleSmithofMekoryuk,whohavearguedspecificallyfor

acceptanceofacontextualizedformofyuraqwithintheirchurches.Toconclude,

suggestionsfor“nextsteps”orfurtherconsiderationwillbeoffered,notinapaternalistic

sense,butratherinrecognitionthatcontextualizationmustbepracticedrelationallyas

partofaglobalhermeneuticalcommunitythatcanprovideimportantchecksagainstbias

andsyncretism.2

II. HistoricalOverview

A. AnthropologicalAccountsofYupikDancing

DrumdancingiscommontoInuitpeoplegroupsacrosstheNorthAmericanArctic.

InAlaska,thisincludestheYupikandInupiaqpeoples.Thoughregionalvariationsabound,

thesamegeneralformisrecognizablethroughoutAlaska:alineofmaledrummersatthe

backofthestageprovidesthebeatforthedance.Eachholdsaframedruminonehand,

beatingitwithamalletheldintheother.Thedrummersalsosingtheaccompanyinglyrics.

Infrontofthedrummersandsingersstandsarowoffemaledancers,whoswaytheir

2Hiebert1994,91.

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bodiesandfollowaseriesofelaboratehandandarmgesturesto“actout”thelyricsthat

arebeingsung.Thereisgenerallyverylittlemotionofthelegsorfeetinvolved.Male

dancers,iftheyarepresent,usuallykneelinfrontofthefemaledancersandactoutthe

samemotions,ofteninamoreexaggeratedfashion,withtheirhandsandarms.

AnthropologistAnnFienup-Riordandescribesthetechnicalfeaturesofthemusicand

danceindetail:

Eachsongconsistsoftwoparts:aversesungin2/4timetotheincreasinglyrapid

drumbeat,andachoruswhichisaccompaniedbyanirregulardrumbeat.Both

chorusandverseelicithighlystylizeddancinggestures,butwhereastheverse

gesturestendtobemoreabstractandaredancedalongaformalAABACArepeating

pattern,thoseofthechorusareoftenrealisticimitationsofanimalandhuman

behavior,andfollownosetpattern.Eachverseisdancedthroughtwicebetween

choruses.3

ThesubjectmatterofthedancesfocusesondailylifeintheAlaskanvillage.Many

describesubsistenceactivitiessuchashuntingorberrypicking,asdancerspantomimethe

actionsofthehunters,theanimals,ortheberrypickers.Morerecently-composeddances

candescribeaspectsofmoderntechnology.4CynthiaPete,aYupikdancerfromthevillage

ofStebbins,describesitas“tellingstorieswithyourhands.”5Thedancesarecomposedby

memberstheoldergenerationand“given”toaspecificyoungerindividual,oftentosignala

3AnnFienup-Riordan,TheNelsonIslandEskimo:SocialStructureandRitualDistribution(Anchorage:AlaskaPacificUniversity,1983),311.

4Fienup-Riordan1983,317.

5CynthiaPete,ANativeTraditionandChristianity(B.A.product,AlaskaBibleCollege,2015),6.

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coming-of-age.6Populardancesarerepeatedandincorporatedintothecommunity’s

repertoire,thuscontributingtotheoralhistoryofthecommunity.

Inadditiontoinformalrecreationthroughouttheyear,dancingwasfeaturedin

manydifferentfestivalsandceremoniesthatwouldvaryfromvillagetovillage.Despite

thisregionalvariation,anthropologicalaccountsagreeontwomajorfeaststhatwere

commonthroughouttheYupikregion:thespringMessengerFeast(orKevgiq),andthe

winterBladderFeast(orNakaciuq).Anunderstandingofthesetwobasicceremoniesis

importanttothequestionofcontextualization.

1. TheMessengerFeast(Kevgiq)

ThroughoutYupikterritory,theMessengerFeastwasheldannuallyduringthe

spring.SteveLangdondescribesthebasicculturalform:

twovillagesofclosely-relatedpeopletookturnsinhostingalargecelebrationof

feasting,dancing,andgiftdistribution.Thenamecamefromthepracticeofsending

aformalmessengertoavillagetopresenttheinvitationandindicatewhatspecial

productstheinviteesshouldbring.7

MarieMeade,aYupikelderfromthevillageofNunapitchuk,describesthebasiccultural

functionofthedance,callingit“aspringfestivalforsharingandbringingcommunities

together.”8Sheelaboratesfurtheronthemeaningthatitcarriedforthevillagers:

6Fienup-Riordan1983,317.

7SteveJ.Langdon,TheNativePeopleofAlaska:TraditionalLivinginaNorthernLand(Anchorage:Greatland,2002),60.

8MarieMeade,“EllamYua—PersonoftheUniverse,”LivingourCultures,SharingourHeritage:TheFirstPeoplesofAlaska,ed.AronL.Crowell(WashingtonD.C.:Smithsonian,2010),105-121,116.

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Peopleworkedhardthroughouttheyear,gatheringplants,furs,andharvesting

food,andKevgiqwasatimetodistributesomeofwhattheyhadearnedtoothers.

Parentswereespeciallyproudifoneoftheirchildrenhadcontributedtothefamily’s

effortforthefirsttime—asonwhobroughthomehisfirstgameoradaughterwho

pickedherfirstberriesorcaughtapikethroughtheice.Thoseeventswere

recognizedasritesofpassagethatmeantthechildwasbeginningalifetimeof

providingforkinandcommunity.Bygivingawayfood,skins,tools,andothergoods

atKevgiq,afamilyensuredthefuturesuccessofitschildrenandtheprosperityof

thewholegroup;theprincipleisthatifyougive,youwillgetback.9

TheMessengerFeast,then,canbeunderstoodashavingaprimarilysocialfunctionthat

broughtneighboringcommunitiestogethertosharetheirresources.Itprovidedan

importantforuminwhichthenextgeneration’scomingofagewasrecognized,familyties

werestrengthened,andsocialnormswereenforced.

2. TheBladderFeast(Nakaciuq)

TheBladderFeast,orNakaciuq,wasthedominantwintertimeceremonyheldbythe

Yupik.It,too,revolvedarounddancing.Meadedescribestheformthatthisfeasttook:

Shamansmadecarvingsormasksrepresentinganimals—walrus,caribou,seals,and

others.Whenthemasksweredancedintheqasgiq(men’scommunityhouse),it

wasapetitionforthoseanimalstoreturninthespring.DuringNakaciuryaraq,the

BladderFestival,thebladdersofsealsthathadbeentakenbyhuntersduringthe

9Ibid.,116-117.

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yearwerereturnedtotheseathroughaholeintheice,allowingthosesealstobe

rebornintonewbodies.10

Essentially,thefeastfocusedontheseasonalsubsistencecycle,aspeoplecelebratedthe

currentyear’ssealharvestandlookedaheadtothenext.InSteveLangdon’sanalysis,the

feast“demonstratedtheirrespectforthesealandsoughttoinsurethatsealpopulations

wouldbeabundant.”11

Meade,however,emphasizesthatthefestivalwentbeyondameredemonstrationof

respect:“Thewintercelebrationshonoredtheyuit,orinnerpersons,oftheanimals,and

thedanceswereakindofprayerthataskedforthesespiritstogivetheirphysicalbodiesto

meettheneedsofthecommunity.”12TheBladderFeasthadsignificantanimistic

components,andtheshaman’srolewascentral.Inadditiontocreatingthemasks,hewas

responsible“toleavethefestivalandtraveltothehomeofthesealstoseeiftheyhadbeen

satisfiedwiththehumanefforts.”13

Theshaman’sjourneysweremuchmorethanasimplehikedowntothebayto

checkonthelocalsealpopulation.Fueledbythespiritualpowerbehindbythemasks,the

shamanwouldenteraspiritualrealmbeyondthephysicalworld.14FredSavokrecounts

onesuch“journey”asrelayedtohimthroughtheoraltraditionsofhisfatherJohnSavok,

whowasbornin1881:

10Ibid.,117.

11Langdon,60.

12Meade,117.

13Langdon,61.

14EmilyJohnson,“Yup'ikDance:OldandNew,”TheJournalfortheAnthropologicalStudyofHumanMovement,vol.9,no.3,131-149,140.

Ferch 7

Inthedarkness,theShamansangsoftlyaspecialsongmadeforthepurpose.Inthe

darkness,songanddanceseemedtoturnthedemonpoweron,andcompletelytook

overtheactionofamaninthecenteroftheroom.Whiledancing,theperson

seemedtosproutwings.Thelistenerswouldhearflappingsound.Soonthedancer

wouldbegintorisefromthefloor.Up,thenoisewent,rightthroughtheceilingof

theqasgi.Thelistenersfollowthesinging,lookingupinthedark,asitwenthigher,

higher,andhigheruntiltheycouldnothearthesinginganylonger.Oneofthem,

theirfriend,hadtakenoffonatriptotheskysomewhere.15

Itisclearthroughaccountslikethisthatthesupernaturalpowerandtheanimistic

significanceoftheBladderFeastdancesmustbeacknowledgedandtakenseriously.

3. TheWorldviewoftheDance

SotheMessengerFeastservedaprimarilysocialfunction,carryingmeaningsthat

emphasizedtheinterdependenceofarcticcommunitiesandindividualsforsurvival.The

BladderFeast’sfunctionwastoensureasuccessfulsubsistenceyear,andthedominant

meaningconveyedwasthatthespiritsofthesealsmustbeappeased,allowingthemto

returnforthenexthunt.Observingthestrongdissimilaritiesinfunctionbetweenthetwo

events,Westernanthropologistshavetendedtomakeasecular/sacreddistinctionbetween

them.Langdon,forexample,labelstheMessengerFeastasa“socialcelebration,”andthe

BladderFeastasa“religiousceremony.”16

15FredSavok,JesusandtheEskimo:HowtheManoftheSkyBroughtLighttoMyPeople”(Fairbanks:HLC,2004),24.

16Langdon,58.

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Culturalinsiders,however,canbemorehesitanttopushsuchacleardistinction.

HaroldNapoleansuggeststhatthisWesterndichotomybetween“sacred”and“secular”was

unknowntotheancientYupik.Everyactoflifewascarriedoutonaspiritualplaneof

existence,andwasunderstoodtohavespiritualaswellas“natural”ramifications:

TotheYup’ik,theland,therivers,theheavens,theseas,andallthatdwelledwithin

themwerespirit,andthereforesacred.Theywerebornnotonlytothephysical

worldoftheBeringSea,theYukon,andtheKuskokwimrivers,butintoaspirit

worldaswell.Theirarts,tools,weapons,kayaksandumiaks,songsanddances,

customsandtraditions,thoughtsandactions—allboretheimprintofthespirit

worldandthespiritbeings.17

Thepointbeingthat,thoughtheBladderFeastcertainlyboremoreexternalformsthat

weredirectlyconnectedtothespiritualrealm,thedancesoftheMessengerFeast,too,were

seenasspiritualactswithspiritualramifications.AsLandgonhimselfpointsout,“Through

thedrum,theheartbeatofellamyua[theCreatoror‘GreatSpirit’]wasfeltanditjoinedthe

heartbeatsofallparticipantsintheceremoniesthroughsonganddance.”18Alldances

werespiritualactivitiesaswellassocial.

B. MissiologicalPerspectivesonYupikDancing

ThoughRussiaclaimedtheentireYupikterritoryaspartofitsempire,thebulkofits

economic,political,andreligiousinfluencewasexertedintheresource-richcoastal

territorytothesouth.ThischangedwiththeUnitedStates’purchaseofAlaskain1867.As

17HaroldNapolean,Yuuyaraq:TheWayoftheHumanBeing(Fairbanks:AlaskaNativeKnowledgeNetwork,1996),5.

18Langdon,59.

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thenewcolonizerssoughttobringtheregionundertheircontrol,missionarieswere

mobilizednotonlytoevangelize,butalsoto“civilize”theinhabitantsofthenewterritory.19

FacilitatedbytheeffortsofSheldonJackson,theregionwasdividedbetweenthemajor

denominationsunderaninformal“comityplan”topreventoverlaporconflict.20Abrief

considerationofthesemissionaries’responsetothepracticeofdancingisnecessaryin

ordertounderstandthepresent-dayclimateinwhichcontemporaryNativeleaders

operate.

1. RomanCatholic

TheRomanCatholicChurchtookresponsibilityforthevillagesalongthelower

YukonRiveranditsdelta,andthisregionbecamethesiteofasignificantJesuitoutreach.

ThewritingsofBellarmineLafourtune,whoservedfrom1903-1947,andFrancisM.

Ménager,whoservedfrom1927-1953,provideinsightintotheirinteractionswiththe

danceceremonies.

SimilartocontemporaryanthropologistssuchasLangdon,theJesuitsobserveda

distinctioninthefunctionandmeaningofvariousceremonies.Lafourtunereported,

“Whentheirdanceswerenotmixedupwithsuperstition,theywereveryinnocent.”21

Ménagerdescribedindetailwhatwasmeantby“superstition:”

IfoundtheEskimosburiedinsuperstitionanddevilworship.Manyofthem,under

theleadershipofthemedicinemen,weretrulydevotedtothedevil.Theiridea

19LarryJorgenson,“FromShamanstoMissionaries:ThePopularReligiosityoftheInupiaqEskimo,”Word&World,vol.10,no.4,339-348,344.

20J.ArthurLazell,AlaskanApostle:TheLifeStoryofSheldonJackson(NewYork:Harper&Brothers,1960),65.

21LouisL.Renner,PioneerMissionarytotheBeringSeaEskimos:BellarmineLafortune,S.J.(Portland:Binford&Mort,1979),133.

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seemedtobethefollowing:itistruethattheGreatSpiritmadeus,andeverything,

butGodisfarawayinhisheaven,andthedevilsareallaroundus.Ifwewanttoget

alongwemustpropitiatethedevil,offerhimgifts,carefullyobservingdifferent

taboos,andstagesomedancesinhishonor.22

Thoughhedidnotnametheceremony,itisclearthathehadinmindactivitiessuchasthe

BladderFeast,inwhichtheshamanwasheavilyinvolvedintheprocessofaccommodating

thespiritsoftheseals,whichMénagerunderstoodtobe“devils.”

Ontheotherhand,Ménageralsodescribedwhatwereunderstoodtobethe

“innocent”dances:

Theinnocentdancesweremostlywhatwascalled“chickeutemyorchiyarak,”orgift

dances.Theseweresimplydancesperformedwhenpeoplefromthedifferent

villageswouldmeet,exchangegifts,haveplentytoeat,andenactavarietyof

pantomimeswithspecialsongs,whichtheycomposed.23

These“giftdances”thatMénagerdescribedfitthedescriptionofwhatanthropologistslater

labeledthe“MessengerFeast.”Thelackofmasksorshamanicinvolvementandthe

externalfocusonsocialinteractionmadethesedancesacceptabletotheRomanCatholics.

ContinuinginthestrongJesuittraditionofculturalengagementthatdatesbackto

theministriesofMatteoRicciandFrancisXavier,theCatholicmissionariesdidnotban

dancingentirely.Ménagersummarizesthereasoning:

Realizingthatdancescanbeexpressiveofgoodwillandthatthesenativesmusthave

somerecreationduringthelongwinters,theCatholicmissionaries,although

22FrancisM.Ménager,KingdomoftheSeal(Chicago:Loyola,1962),28.

23Ibid.,28.

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forbiddingtheirconvertstoparticipateinanyandallsuperstitiousanddevilish

practices,approvedofthegiftdances.Oftenthemissionarieswouldbepresent

duringthegiftdances.24

Essentially,theRomanCatholicresponsewastoforbiddancingthatdirectlyinvolvedthe

shamanorspiritworship(suchastheBladderFeast),buttoencourageandeven

participateinthe“social”dances(suchastheMessengerFeast).

2. Protestant

ThemajorProtestantdenominationsservingintheYupikregionwerethe

Moravians,whotookresponsibilityfortheKuskokwimRiverdelta,andtheEvangelical

CovenantChurch,whoworkedonthecoastofNortonSoundandNunivakIsland.The

ProtestantgroupsrespondedtodancingquitedifferentlythantheRomanCatholics.They

didnotdichotomizebetweenthe“sacred”and“secular,”andtaughtthatdancingofall

formsmustbegivenupuponconversiontoChristianity.WhenJacobKenickcameto

NunivakIslandasanearlymissionarywiththeEvangelicalCovenantChurchin1936,“His

firstdecreesweretheprohibitionofmaskmaking,dancing,singing,andceremonies.”25

InterviewswithNativeeldersfromtheregionrevealthattherewasnoattemptto

distinguishbetween“spiritual”and“social”dancing:

Theyweretoldthatdancingwassinandtheycouldn’tdoitanymore…Youhaveto

havejoy,somethingtobejoyfulaboutandworktogethertohavefun.Allthedances

weremadeforthat.Justforthattogatherandhelpeachother.Thiswassomething

24Ibid.,28-29.

25DaleSmith,“Cup'igforJesus:TheMissiontoNunivakIsland,”CovenantQuarterly,vol.10,no.3(August-November2011),61-73,63.

Ferch12

tolookforwardtodointhewintertime.Themissionarydidn’trealizethatdancing

wasameaningforsurvival.26

ThewrittenreportsofJohnKilbuck,pioneerMoravianmissionarywhoservedinthe

Kuskokwimdeltaregion,revealasimilarperspective:“theywilloftentakeuptheirdrums,

andsingtheirheathensongs,whilesomeoneperformsoneoftheirheathendances.”27

Speakingoftheentireannualceremonialcycle,Kilbuckobserved,“TheseFestivalsare[all]

semireligious,beingcelebratedtopropitiatethespirits.”28Hemadenodistinction

betweensacredandsecular,perceivingreligiousundertonesthroughoutthecycle.

3. CurrentStateofYupikDancing

Asaresultofthesevariousmissionaryapproaches,dancingnolongerexistsinits

pre-colonialform.InthemanyYupikvillagesevangelizedbytheProtestants,dancingwas

eliminatedaltogether.29EvangelicalCovenanthistorianArdenAlmquistwrites,“The

[annualchurch]conferencehadby[1930]cometoreplacetheannualpaganfeastsand

dances,fillingtheEskimos’needtocongregateandvisitandfeast.”30IntheRomanCatholic

villagesoftheYukonDelta,dancinghascontinuedinamodifiedform.Festivalswith

heavily“spiritual”componentsarenolongerobserved.31These“masked”dancesliveon

onlyintheoraltradition,aselderstodayrememberbackonthe“oldways.”32The

26Ibid.,64.

27AnnFienup-Riordan,TheYupikEskimos:AsDescribedintheTravelJournalsandEthnographicAccountsofJohnandEdithKilbuck,1885-1900(Kingston:Limestone,1988),179.

28Ibid.,23.

29Fienup-Riordan1983,306.

30L.ArdenAlmquist,CovenantMissionsinAlaska(Chicago:Covenant,1962),36.

31Ibid.,307.

32Meade,117.

Ferch13

MessengerFeast,however,continuestobecelebratedasbefore.Meadereflects,“The

dancingandgiftgivingrepresentthesamevaluesasinthepast,evenifsomeoftheitems

arestore-boughtgoodsfromWal-Mart.Itisaboutgivinggenerouslytoothersand

celebratingthesuccessofthesubsistenceharvest.”33

Inrecentyears,effortshavebeenmadetorestorethetraditiontoProtestant

communitiesthroughouttheYupikregion.34TheCama’iDanceFestival,heldannuallyin

Bethelsince1984,hasbecomeamajorregionalforumforculturalpreservationand

celebration.HaroldNapoleanhassuggestedthatthisrevivalisanimportantpartof

recoveryfromthecycleofdepression,alcoholism,anddomesticviolencethatafflicts

today’sNativecommunities,whichhesuggestsisadirectresultofthepopulationcollapse

andculturalrepressionthatfollowedthearrivaloftheWesterners.35Indeed,manyof

today’sNativeyouthfindthatbyconnectingthemwiththeirnearly-forgottenpast,dancing

providesasourceofculturalidentityandpride.36Itisthiscontemporaryresurgencethat

haspromptedtheNativeleadersoftodaytorevisitthequestionofdancinginthechurch

fromtheirowninsiderperspectives.

C. EvangelicalApproachestoContextualizationinAlaska

ThepublicationofCharlesKraft’sChristianityinCulturein1979initiatedashiftin

ProtestantperspectivesoncontextualizationinAlaska.Readingsfromthisvolumewere,

foratime,incorporatedintothe“MissionaryDevelopmentProgram,”ajointventurethat

33Ibid.

34Ibid.

35Napolean,30.

36Meade,117;Johnson148.

Ferch14

providedmissionarytrainingforallofthemajorEvangelicalmissionorganizations

operatinginAlaska.Todate,GaryRidleyhasprovidedtheprimaryevangelical

missiologicalvoiceonthetopicofcontextualizationinAlaska.AspresidentofAlaskaBible

College,RidleyevaluatedKraft’spioneeringapproachinhis1990dissertation.Ridley

ultimatelyconcludedthatKraft’sargumentfor“dynamicequivalent”contextualization

basedonreceptor-orientedcommunicationandtheconceptofanongoingrevelatory

processthatcontinuesintothepresentdayfellshortofthehighviewofinspirationthatis

sharedbytheEvangelicalmissionagenciesoperatinginAlaska.37Inhiscurrentrolewith

SENDInternational,RidleyhaspromotedPaulHiebert’sfour-stepprocessof“critical

contextualization”asthepreferredmodelforcontextualizationamongnorthern

indigenouspeoples.38ThepresentstudyacceptsthegroundworkthatRidleyhasalready

laidfortheAlaskanfield,andwillevaluatetheself-contextualizationeffortswithinthe

YupikchurchinlightofPaulHiebert’sfoursteps.

III. TheContextualizationProcess

ThefocusnowturnstotwocontemporaryeffortswithintheYupikchurchtoself-

contextualizetheyuraq.TheproponentsoftheseeffortsareCynthiaPete,a2016B.A.

graduatefromAlaskaBibleCollege,andDaleSmith,a2011M.A.graduatefromNorthPark

TheologicalSeminary.Theroleoftheseinstitutionsinthespiritualandtheological

formationoftheseindividualsshouldbenoted.Bothrepresenttraditionalinstitutionsof

37GaryJ.Ridley,LeadershipDevelopmentinNativeAlaskanChurches:TeachingBiblicalLeadershipPrinciplesintheLightofanAnalysisofTraditionalPatternsofLeadership(D.Miss.dissertation,TrinityEvangelicalDivinitySchool,1990),16-17.

38GaryJ.Ridley,GuidelinesforContextualizationamongNorthernIndigenousPeoplesofAlaskaandNorthernCanada(whitepaper,Palmer,AK,2016),1.

Ferch15

theologicaleducation,foundedbymajormissionarygroupsstilloperatinginAlaskatoday.

AlaskaBibleCollegerepresentsthenondenominationalapproach,foundedbywhatis

todaySENDInternational,whichcontinuestooperateinAlaskaasoneofitslargestfields.

NorthParkTheologicalSeminary,locatedinChicago,servestheEvangelicalCovenant

ChurchthroughoutNorthAmerica,andisthereforetheseminaryofchoiceformany

Alaskansfromthatdenomination.Throughtheirtrainingattheserespectiveschools,Pete

andSmithwereexposedtocontemporarydevelopmentsinmissiologicalthought,andwere

challengedtoapplytheseprinciplesintheirowncommunities.

A. ExegesisoftheCulture

PaulHiebertlabelsthefirststepofhis“criticalcontextualization”frameworkasthe

“ExegesisoftheCulture.”Thisinvolves“uncriticallygatheringandanalyzingthe

traditionalbeliefsandcustomsassociatedwithsomequestionathand…Thepurposehere

istounderstandtheoldways,nottojudgethem.”39ThefactthatbothPeteandSmithare

culturalinsidersisquitebeneficialtothisstep.Hiebertemphasizesthatwhenoutside

missionariesattemptto“exegete”traditionalpractices,thereistheriskthat“thepeople

willnottalkaboutthemforfearofbeingcondemned.”40Asinsiders,theseindividualsare

abletodiscussthetruemeaningandimportanceofdancingwithothersintheir

communitieswithoutfearofrejectionordishonesty.

39Hiebert,88-89.

40Ibid.,89.

Ferch16

1. CynthiaPete

CynthiaPetegrewupinthevillageofStebbins,whichwasoneofthoseoriginally

evangelizedbytheRomanCatholicChurch.Thoughsheherselfisamemberofthe

AssembliesofGod,whichcametohervillagelater,dancingwasaregularpartofherlife

fromanearlyage.ThedistinctionthattheearlyCatholicmissionariesmadebetween

“superstitious”and“innocent”dancingisevidencedinCynthia’sownexegesisofher

culture.Shecertainlyacknowledgestheshamanicritualsofthepast,quotingherfather’s

oralrecollectionofthishistory.Butsheresponds,“Thiswasnotalwaysthecase,though.

TheNativepeoplesofthevillageusedthedancingasawayofentertainment,asimpleway

totellthestoriesofoldandpresent.”41

AsaproductofcontemporaryYupikculture,Cynthiadoesnotconcernherselfwith

theshamanisticritualsofthepast.Thedancingthatshedescribesfromherown

experienceisaclearexampleoftheMessengerFeast:

Thevillagewouldspendallyearcomposingandpracticingsongs.Oncethe

celebrationwasreadytobepresented,theChiefofthedancegroupwouldcalltothe

neighboringvillagetellingthemtopreparetocomeandjoin.…Everyonelooked

forwardtothistimeoftheyearbecauseitbroughttogetherfamiliesfromnearand

far.Laughterandfunfilledtheatmosphereandpeoplecaughtupwitheachother.

Homesarefilledwithpeoplefromvisitingvillagesandthepopulationnearly

doubled.42

41Pete,1

42Ibid,7.

Ferch17

Reflectingonthesignificanceofthedancetoherpeople,Cynthiaidentifiesfourmajor

functionsthattheformserves.First,dancingisaformofentertainment:“Intheearlydays

peoplehadnoTVs,radios,oranykindofentertainment.Theirentertainmentwas

dancing.”43Second,dancingservesasocialpurposeinconnectingdistantrelativesand

neighboringvillages:“Itiswhatbringspeopletogethertocelebratelife,stories,joyand

laughter.Neighboringvillagescometojoininonthisbeautifulcelebration.”44Third,it

providesaforumtorecognizea“comingofage”asyouthareinductedintotheartof

dancing.Shereflectsonherownintroductiontodancing:

Thesongthatwasmadeformewasallaboutfireworks.Mygreatuncle,Anatole

Bogeyaktuksawmeasoneofthose,alittlegirlwhowasalwaysblabbering,happy

andfulloflight.So,hemademeasongaboutfireworks.Icanrememberhim

comingtomyhouseeveryotherdaytosingthesongtomesothatIcangettoknow

thewords.45

Finally,Cynthiaunderstandshervillage’sdancesasameansofculturalpreservationand

transmissionofknowledgefromonegenerationtothenext.Shewrites,“Dancingisan

expression,anexpressionoflifestoriestoldfromthepassed[sic]andpresent.Songsfrom

oldthatarepassedtotoday,tellingusthestoriesofourancestors.”46

SoforCynthiaPete,dancingtodayprovidesentertainment,createssocial

connections,recognizesritesofpassage,andtransmitsoraltraditioninverymuchthe

43Ibid,6.

44Ibid,3.

45Ibid,4.

46Ibid,9.

Ferch18

samewayastheMessengerFeastsof100yearsago.Notably,anyreligiousorspiritual

connotationiscompletelyabsentfromherperceptionofmodern-daydancing.

2. DaleSmith

DaleSmithwritesfromacompletelydifferentperspective,havingbeenraisedinthe

ProtestanttraditionoftheEvangelicalCovenantChurch.Hewrites,“Myupbringingin

Mekoryukprovedtomethatthe‘oldtraditionalways’hadceasedtoexist.Ididn’tsee

any…dancing.”47Hedescribeshowhisexposuretodancingcamemuchlaterinlife,when

somethingsimilartotheMessengerFeastwasreintroducedtoMekoryuk:

Thefirstrevivalofthetraditionaldancein2000washeadedbytwocultural

preservationists.Theyorganizedvolunteerstopracticetraditionaldancing,

primarilybywatchingavideorecordingofadeceasedCup’ig[aYupikdialect]elder

whosangandperformedseveraldances.Fromthisrecording,thedancegroup

practicedandwasabletoperformatthefirstdancefestival;severalvillagesfrom

thesurroundingattendedandparticipated.48

Facedwiththequestionofdancingassuchabrandnewdevelopment,Smithandhis

communitydonotsharethesame100yearsofculturalconditioningthatallowedCynthia

Petetodisassociatethisdancefromitsoriginaltiestotheanimisticworldview.Therefore,

ashegrappleswiththetensionbetweenhisidentityasamemberoftheEvangelical

CovenantChurchandhisculturalheritageofdancing,heemphasizesthereligiousnatureof

thedance:

47Smith,67.

48Ibid.,69-70.

Ferch19

Worshipentailedtraditionaldancing,primarilyforgivingthankstothecreatorfor

foodprovisionsthroughouttheyear.ItissaidthroughoralCup’igtraditionthat

theyacknowledgedahigherbeingcalledEllamCua,thecreatorandproviderofsea

mammals,fish,andbirdsfordailysustenance...EllamCua,translatedasthe

“universebeing”or“spiritoftheworld,”wasthegreatestbeingknowntotheCupig

people,theprotectorandcontrolleroftheentireuniverse.Dancefestivalswere

heldduringthewinterseasontogivethanksforspring,summer,andfallprovisions

fromEllamCua.49

Smithacknowledgesthatdancingdoesserve“entertainmentandculturalpurposes.”50

However,forhim,eventhesimpleMessengerFeastcarriesamuchdeeperspiritual

significanceofthanksgivingandpraisetotheCreator.

B. ExegesisofScripture

ThesecondstepinHiebert’smodelisthe“ExegesisofScripture,”or“Hermeneutical

Bridge.”Inthisstep,“thepastorormissionaryleadsthechurchinastudyoftheScriptures

relatedtothequestionathand.”51ThoughHiebertindicatesthisisthetaskofthepastoror

missionary,GaryRidleysuggeststhatitmaybemoreappropriate,wherepossible,for

indigenousleaderstobetrainedinBiblestudymethodssothattheycanundertakethis

stepontheirown.52Again,hereweseethevalueoftheologicaleducationasitrelatesto

thequestionofself-contextualization.Asindigenousbelieverswhohavebeentrainedin

49Smith,65.

50Ibid.,70.

51Hiebert,89.

52Ridley2016,8.

Ferch20

hermeneutics,CynthiaPeteandDaleSmitharequalifiedtoexegeteScripturefortheirown

people.

1. CynthiaPete

Ononelevel,PeteandSmithofferverysimilarapproachestoScripture.Both

performwhatappearstobeabasictopicalstudyontheword“dancing”inScripture,

lookingforanyindicationwhetherthebasicideaoughttobeviewedinapositiveor

negativelight.Indoingso,CynthiaPetefindsplentyofsupportfortheideathatdancingin

andofitselfisnotonlypermissible,butencouragedinScripture.Tothisend,shecites

Ecclesiastes3:4(“atimetomournandatimetodance”),2Samuel6:14(“Daviddanced

beforetheLord”),Psalm30:11(“mymourningintodancing”),Psalm149(“praisehisname

withdancing”),andPsalm150(“PraiseHimwithtambourineanddance”).53

Thediscerningreaderwillnotethatthesetextsalonedonotadequatelyaddressthe

questionathand.PeteoffersnocomparisonsbetweenYupikandHebrewdancing,

assumingthattheyarebasicallythesameinfunction,ifnotinform.Inhisguidelinesfor

applyingHiebert’smodel,GaryRidleywarnsagainstthistendencytolookfor“prooftexts,”

andencouragesexegetestolook“morebroadlyforhowtheissuefitswhattheBibleclaims

aboutthenatureofGod,man,sin,salvation,etc.”54

Thankfully,Petedoesnotleaveuswithprooftextsalone.Beyondtheversesthat

specificallymentiondancing,shepointstoScripturalteachingonthebasicdoxological

purposeofhumanexistence:

53Pete,11.

54Ridley2016,9.

Ferch21

GodcreatedHispeopletorepresentapartofHim.InthebookofGenesis,Hesays

thatwearecreatedinHisimage.Lookingattheworld,weseethatwehaveavery

artisticCreator.Hecreatedthemountains,thevalleys,waters,skies,stars,planets,

seaandlandanimals…WhenHecreatedus,Hegifteduswithtalents,andthese

talentsarewhatmakeusunique.Thesetalentsincludeconstructing,singing,the

abilitytomakeandcreatemusic,theabilitytomakethingsusefultooureveryday

needs,anddancing.55

Thehumancreativitythatdancingreflects,Peteargues,isabasicaspectoftheimageof

Godinhumans,andthisoughttobecelebratedasameansofglorifyingHim:

WorshipisalifestylethatwelivetoglorifyGodineverymomentofourlives.

Romans12:1says,“Andso,dearbrothersandsisters,Ipleadwithyoutogiveyour

bodiestoGodbecauseofallhehasdoneforyou.Letthembealivingandholy

sacrifice–thekindhewillfindacceptable.Thisistrulythewaytoworshiphim.”

EveryaspectofourbeingshouldbetoglorifytheOnewhocreatedus,whetheritbe

inprayer,service,ormovementofthebody.56

Intheend,itisPete’sbiblicaltheologyofChristianworshipthatprovideshermostrelevant

ScripturalinsighttothequestionofYupikdancing.Allhumancreativity,includingdancing,

mustbeseenbybelieversasanopportunitytoworshipGod.

2. DaleSmith

LikePete,Smithoffersseveralprooftextsrelatedtothegeneralideaofdancing,

including2Samuel6:14andPsalm150.Heconcludes,“IhavesearchedtheBibleandcould

55Pete,2-3.

56Ibid.,11.

Ferch22

notfindanyscripturalreferencesthatdancingiswrong.”57However,Smith,too,seemsto

realizethatthisinandofitselfdoesnotanswerthequestion.

SinceSmithunderstandsdancingtobeaspiritualactivity,andnotjustaneutral

formthatcanbeusedforgoodorforevil,hefocusesontheobjectofworshipratherthan

theformitself.Hefindsanswersinthebiblicalteachingongeneralrevelation.Examining

Paul’sdiscussionofthe“unknowngod”inActs17,SmitharguesthatEllamCua,the

supremeCreatorbeingthatwasrecognizedandworshippedbytheancientCup’igthrough

theirdancing,isthesameCreatorGodthattheynowknowandunderstandmorefully

throughtheScriptures.58HepointstoRomans1:18-20asfurtherevidenceforthis

position.59

C. CriticalResponse

Hiebert’sthirdstepisthe“CriticalResponse.”Inthisstep,theindigenousbelievers

“criticallyevaluatetheirownpastcustomsinthelightoftheirnewbiblicalunderstandings

and…makedecisionsregardingtheirresponsetotheirnew-foundtruths.”60Hiebert

suggestssixdifferentresponsesthatbelieverscantakeastheyencounterScripturaltruth.

Ofthesesix,threecanbeseenintheresponsesofferedbyPeteandSmith:keeping

practicesthatdonotconflictwithbiblicalteaching,rejectingthosethatdo,andmodifying

somebygivingthemChristianmeanings.61

57Smith,70.

58Ibid.,68.

59Ibid,69.

60Hiebert,89.

61Ibid.

Ferch23

1. CynthiaPete

InreadingCynthiaPete’sattemptstorespondcriticallytothequestionofdancingin

lightofScripturaltruth,onegetsthesensethatsheissincerelywrestlingwiththeissues.

Asaninsider,sheistreadingonthinice—shedoesnotwanttobetrayherculture,butshe

alsowantstobefaithfultotheWordofGod.Lookingintoherhistory,shestruggleswith

thecomplexlegacythemissionariesleftbehind:

Themissionariessawit[dancing]asevilandinvitingtotheevilspirits.Whichwas

truetosomeextent,butthevaluebehinditwassomethingthatwasprecioustothe

people.Itwasknowntobringpeopletogetherandreunitethecommunity.62

Shequotesherfather,Francis,assharingthisstruggle.Heisquicktodistancehimselffrom

thepracticesoftheshamans,whichhecalls“idolworship,”butofdancinghesays,“Idon't

rememberanyofitbeingevil,allIrememberisitbeingfunandbeingapartofsomething

thateveryonecanparticipateinwithjoyandsmilesontheirfaces.”63Ofcourse,according

tothemodelofcriticalcontextualization,socialvaluealoneisnotenoughtolegitimizea

practiceifitconflictswithabiblicalworldview.Strugglingwiththistensionbetween

shamanistictiesandsocialbenefittothecommunity,Cynthiaconcludes,“Themissionaries

werepartrightwhentheysawitisasevilbecausesomeofthepracticesweretocallonthe

animalspirits,whichwasshamanistic.”64

ForPeteandherfatherboth,thecontemporaryformsofdancingthathaveendured

tothisdayaretobeacceptedandcelebratedwholeheartedly,becauseintheireyesthe

62Pete,8.

63Ibid.,4.

64Ibid.,8.

Ferch24

“evil”formsofdancingwereeliminatedwiththeshamanslongago.Sheconcludesthatin

andofitself,dancingisaneutralformthatcanandshouldbeusedtoglorifyGod:"Howwe

choosetousethesegiftsthatHehasbestoweduponusisuptous.Somehavebeenused

forbad,somehavebeenusedforgood.TheultimategoalistoglorifyHim.”65

2. DaleSmith

AsDaleSmitharguesfromScripturethathispeopleweregenuinelyseekingafter

andworshippingGodthroughtheirdancesforEllamCua,hecomesveryclosetoplacing

hisculturalheritageonthesameplaneasbiblicalrevelationwhenhestates,“Ibelieve

God’swordwasalreadyatworkorallywiththeCup’ig”(thatis,priortothemissionaries’

arrival).66SomemightseehereanerrorthatGaryRidleywarnsagainstinhisapplication

ofHiebert’sparadigmtonorthernindigenouscultures:“DistantTimeStoriesmayreflect

interpretationsfromgeneralrevelationbutcannotbecategorizedasspecialrevelation.”67

However,wemustnotethatSmithiscarefultoavoidtheimplicationthatthis

ancientknowledgewascompleteorperfect.Headmits,“theydidnotknowEllamCuais

Goduntilthemissionaryexplainedtheconnection…[and]theCup’igpeoplewerenotaware

ofacceptingChristastheirSavioruntilthegospel’sarrival.”68BasedonActs17and

Romans1,SmitharguesthattheCup’igpeoplewereattemptingtorespondthroughdance

tothelimitedamountofgeneralrevelationtheyhad,whichisconsistentwithRidley’s

guidelines.

65Ibid.,12.

66Smith,68.

67Ridley2016,3.

68Smith,68.

Ferch25

“Whenthegospelarrived,”Smithemphasizes,“itwastimetochangetheways

throughJesusChrist.”69InlightofthespecialrevelationfromScripture,hearguesthat

aspectsofdancingmustbechanged:“AlthoughIdidnotseemyancestorsdanceintheir

traditionalstyle,Ihaveagoodunderstandingthatmanydanceswerecreatedtoshow

respectandreverencetoEllamCua…Ihavealsoheardofshamanisticdances,andIbelieve

theyweredemonic.”70LikePete,Smithrecognizesthatthedemonicdancesmust

discontinuedinlightofhispeople’sacceptanceofScripture.However,hetakesissuewith

theEvangelicalCovenantChurch’soutrightbanondancing.71

HerewecanobserveoneimportantdistinctionbetweenSmith’scriticalresponse

andPete’s.Bothagreeontheexplicitrejectionofshamanisticdances.However,where

Petearguesforkeepingthe“social”dancesasaspiritually-neutralbenefittothe

community,SmitharguesforwhatisHiebert’sthirdoption:givingChristianmeaningtothe

oldpractices.Dancingshouldnotcontinueunmodified,butshouldbereinterpretedbythe

Cup’igas“awaytogivethankstoGod.”72

D. NewContextualizedPractice

Thefourthandfinalstepofcriticalcontextualizationisto“arrangethepractices

theyhavechosenintoanewritualthatexpressestheChristianmeaningoftheevent.”73As

opposedtostepthree,whichfocusedontheuseoftheforminthegeneralculture,thisfinal

69Ibid.,69.

70Ibid.,71.

71Ibid.

72Ibid.,70.

73Hiebert,90.

Ferch26

stepisfocusedon“baptizing”theformintothechurch.Thefinalproducthere“willbe

Christian,foritexplicitlyseekstoexpressbiblicalteaching.Itwillalsobecontextual,for

thechurchhascreatedit,usingformsthepeopleunderstandwithintheirownculture.”74

BothPeteandSmithconcludewithavisionforhowtheirownlocalcongregationscan

engagetheyuraqfortheKingdomofGod.

1. CynthiaPete

Petearguesthatthecommunitydancefestivalscurrentlyobservedinhervillageof

Stebbinsarebeneficialandshouldbeallowedtocontinue.However,shedoesnotstop

here.Rather,sheoffersavisionforhowherchurchcanusetheyuraqasawayto

indigenizetheChristianfaith.Shebeginsbyobservingtheculturalgulfthatmanyofher

peopleperceivebetweentheiridentityasYupikandthemessageofthegospel:“Howdowe

tellothersthatGodisjustnotforwhitepeople?SomeNativesinthecommunityblameGod

fortheactionsthatwerebroughtuponthem.”75Shesuggeststhattheyuraqcouldoffera

solutiontothisproblem:“HowdoweteachthepeopletousethisdancetoglorifyGod?”76

Exploringthisquestion,Cynthiaaskedoneofherfellowdancers,MariannMike,

“HowdoweglorifyGodbyyuraqing?”Mariann’sidea,incorporatedbyCynthiaintoher

model,isingeniouslysimpleyetprofound:“WhatI'vedoneinthepastwasItookoneofthe

Psalms,translateditintoYupikandcreatedatune.AfterIdidthat,Isangthesongwiththe

motionsofmyhands.”77

74Ibid.,90-91.

75Pete,10.

76Ibid.,11.

77Ibid.,12.

Ferch27

2. DaleSmith

DaleSmith,too,shareshisvisionforhowhischurchcouldengagethedance:

“Traditionaldancingcouldbeusedasaministrywithinthevillage,sinceamajorityofthe

activitiesarewithinthechurchsetting.Usingthedancingasaministrywouldbenefitthe

church.”78Hedoesnotelaborate,butheseemstoenvisionthechurchhostingdancesasa

communityoutreach,sincethechurchprovidesacommonspaceforcommunity

gatherings.AsPetealsosuggested,endorsementofcritically-contextualizeddancinginthe

churchcouldgrantgreaterculturalvaliditytowhathasforsometimebeenseena“white,”

outsiderreligion.

Goingbeyondoutreach,Smithalsocallsfordancingto“becomeapartofcorporate

worship.”Hedoesnotgiveanysuggestionsonhowexactlythiswouldlook,butperhaps

Pete’ssuggestionoftranslatingthePsalmsintoyuraqcouldbehelpfulhere.Smith

concludeswithapowerfulandemotionalappeal:

WithJesusasourSavior,IdonotseeanydifferenceinworshipingJesusthroughour

God-givenabilities.IbelieveweCup’igmustharnessourtraditionsandculture

beforeourlasteldersleavethisearth.WemustkeepouridentityasGodhad

intendedthroughoutthegenerations.Wemustcontinuetopraisehimthroughour

culture…IndeedwemustpraisetheLordthroughourtraditionaldancing!79

78Smith,70.

79Ibid.,70-71.

Ferch28

IV. Conclusion

ComingfromtwodifferenttraditionsofChristianity,havingexperiencedtwo

distinctpersonalhistoriesinrelationtotheyuraq,completingtwodifferentseminary

curriculainpreparationforministry,andworkingentirelyindependentlyofeachother,

CynthiaPeteandDaleSmithultimatelymakethesameargumentforincorporationofthe

yuraqintothecorporateworshipoftheYupikchurch.Thoughtheydifferonthebroader

meaningthattheyuraqcarrieswithintheirrespectivecommunities,theybotharguefrom

theScripturesthatYupikbelieversshouldbeencouragedtodevelopChristiandancesthat

praiseGodfromthe“heart”oftheirculture.Ifwetakenothingelseawayfromthisstudy,

thisisafindingthatdeservestoberecognizedandstronglyconsideredbytheentire

Alaskanchurch.

Certainly,moreworkmustbedone.PeteandSmithhavedonetheworkof

“pathfinders”fortheirrespectivecommunities,butthepathdoesnotendhere.80Asa

formerinstructorofCynthiaPete,andaspartofanorganizationworkinginformal

partnershipwiththeAlaskaConferenceoftheEvangelicalCovenantChurch,Ifindmyselfin

theroleof“facilitator.”Assuch,Iwillofferhereafewbriefobservationsontheworkthat

theyhavedone,onceagainacknowledgingHiebert’semphasisthatcritical

contextualizationmustalwaysbecarriedoutaspartofabroaderinterpretive

community.81Iofferthiscritiqueinaspiritofhumilitythatgenuinelydesirestosupport

andencouragethesepioneeringservantsofGod.

80A.ScottMoreau,ContextualizationinWorldMissions:MappingandAssessingEvangelicalModels(GrandRapids:Kregel,2012),263.

81Hiebert,91.

Ferch29

IfindbothargumentstobevalidandconvincingintermsofPaulHiebert’smodel.

Eachauthorhasfaithfullyrepresentedtheculturalbackgroundandcontemporary

understandingsoftheirowncommunity,andhasusedscriptureaccuratelytoproposea

waythatthechurchcanengagetheyuraq.Thatsaid,Iseeareaswheretheirarguments

couldbestrengthened,specificallyinstepstwoandthree(scripturalexegesisandcritical

response).

MorecanbedonetosolidlygroundtheseargumentsinthewordofGod,starting

withtheissueofproof-texting.DetailsregardingtheformofancientHebrewdancingare

scant,butScriptureprovidesmuchinsightintoitsfunctionandmeaning.Althougheach

authoremphasizesthatdancingisneverportrayednegativelyinScripture,theceremonial

“raving”donebytheprophetsofBaalin1Kings18:29mightberelevanttothediscussion.

AmorethoroughstudyondancingintheAncientNearEastcouldshedmorelighton

appropriateuseofYupikdancing.Scripture’sincorporationofpaganmythologicalthemes

intoHebrewworshipasapolemicagainstBaalism(asseen,forexample,inPsalm74:12-17

and89:6-20)mightalsobestudiedasamodelforaYupikpolemicagainstshamanism.82

Theargumentswouldalsobenefitfrommoreclarityandboldnessintheircritical

responses.Thoughtheybothsuggestthattheoldshamanisticelementsareincompatible

withtheirChristianfaith,theytendto“brushtheseundertherug”ratherthanopenly

discusswhytheywereincompatibleandhowtheydifferfromtoday’spractices.Moreover,

eachappealstotheintrinsicvalueofhumanculture,butindoingsothelinesbetween

cultureasgeneralrevelationandScriptureasspecialrevelationareeasilyblurred.As

82RobertB.Chisholm,Jr.,“SuppressingMyth:YahwehandtheSeainthePraisePsalms,”inThePsalms:LanguageforAllSeasonsoftheSoul(Chicago:Moody,2013),75-84.

Ferch30

Yupikchurchleaderscontinuethisconversation,morepreciseterminologyshouldbe

explored,andthequestionofwhatelementsofdancingmightbeinappropriateforthe

churchshouldbeconsidered.Forexample,howshouldthechurchrespondintheevent

thatmaskeddancesarereintroduced?

WheredoestheYupikchurchgofromhere?CynthiaPeteandDaleSmithhave

offeredastartingpoint—avisionforwhatthechurchcoulddo.Neitherisinapositionto

actonthisvisionalone.Thevisionisinseedform,anditmustbenurturedbychurch

leadershipinordertogrowintoreality.TheEvangelicalCovenantChurchisperhapsinthe

bestpositiontoleadinthisregard.Denominationalleadershipcoulddistillandcirculate

theseindigenousarguments,andfacilitatecritiqueanddiscussionamonglocal

congregations.Withdenominationalsupport,theideaof“yuraq-ingthePsalms”could

begintotakerootamongchurchelders.Consideringtheemphasisonyuraqasaformof

storytelling,narrativeportionsofScripturemightalsobeincorporatedintodance.Alaska

BibleCollegeisinapositiontosupportandencouragesuchamovementthroughits

Ethnodoxologycourse,offeredinpartnershipwiththeCenterforExcellenceinWorldArts

atGIAL.Perhapsonedaysoon,apsalmorBiblestorymightbeperformedasyuraqatthe

“NativeMusicale,”anAlaskaNativeChristianmusicfestivalhostedannuallybyAnchorage

NativeNewLifeFellowship.Throughpartnership,collaboration,andmutualrespect,a

trulyindigenousAlaskantheologyofworshipmaybewithinreach.