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.
Ferch 2
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.
Ferch 3
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.
Ferch 4
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.
Ferch 5
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.
Ferch 6
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.
Ferch 8
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.
Ferch 9
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.
Ferch10
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.
Ferch11
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.
