'A Fun and Funky Disco Pastiche': David Crowder Confronts Evangelical Performance Anxiety
Within evangelical communities, “worship” and “performance” are often diametrically opposed, with the latter instantly evoking damning connotations of pretense or artifice. This leads many artists to utilize a strategy of disavowal to legitimize their music-making as worship—erasing the “performance...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2023
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| In: |
Religions
Year: 2023, Volume: 14, Issue: 4 |
| Further subjects: | B
Worship
B Liturgy B Performance B Evangelicalism |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Within evangelical communities, “worship” and “performance” are often diametrically opposed, with the latter instantly evoking damning connotations of pretense or artifice. This leads many artists to utilize a strategy of disavowal to legitimize their music-making as worship—erasing the “performance” category in order to highlight the ultimate worshipful aim of their actions. David Crowder, especially during his lengthy tenure with the David Crowder*Band (DC*B), places performative elements front and center through calculated uses of sound in live performances and on recordings. My analysis in this essay will focus on the ways that David Crowder legitimates “performance” as its own distinct musical space, using a dialectical move to navigate the performance/worship problem by emphasizing its divide rather than simply trying to erase it. | ||
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