{"id":9609,"date":"2016-05-19T00:00:00","date_gmt":"2016-05-19T00:00:00","guid":{"rendered":"https:\/\/mwc-cmm.org\/the-book-or-the-wall-4\/"},"modified":"2024-12-10T17:12:50","modified_gmt":"2024-12-10T17:12:50","slug":"the-book-or-the-wall-4","status":"publish","type":"post","link":"https:\/\/mwc-cmm.org\/fr\/stories\/the-book-or-the-wall-4\/","title":{"rendered":"Le livre ou le mur ?"},"content":{"rendered":"

Explorer nos engagements communs <\/strong><\/em><\/p>\n

Un des engagements de notre communion mondiale d\u2019\u00e9glises anabaptistes est de se retrouver r\u00e9guli\u00e8rement pour le culte. Cependant, de par notre immense diversit\u00e9, cet engagement se manifeste de mani\u00e8res tr\u00e8s diff\u00e9rentes. <\/em>Dans le num\u00e9ro d\u2019octobre 2013, <\/em>des responsables de notre communion d\u00e9crivent diff\u00e9rentes formes de culte anabaptistes : aspects visuel et sonore, difficult\u00e9s et b\u00e9n\u00e9dictions.<\/em> <\/em><\/p>\n

Le livre ou le mur ?<\/strong><\/span><\/p>\n

Si vous assistez \u00e0 un culte dominical dans une assembl\u00e9e mennonite europ\u00e9enne, vous rencontrerez probablement deux styles de louange diff\u00e9rents. Dans l\u2019un de ces cultes, l\u2019assembl\u00e9e chante \u00e0 partir d\u2019un livre. Ce style affectionne les chants \u00e0 quatre voix et utilise souvent l\u2019orgue, l\u2019harmonium ou le piano comme instrument d\u2019accompagnement. <\/p>\n

Dans l\u2019autre de ces cultes, l\u2019assembl\u00e9e s’en remet \u00e0 un vid\u00e9oprojecteur pour afficher les paroles des hymnes sur un mur. Cette louange se veut plus \u201ccontemporaine\u00a0\u00bb : ses m\u00e9lodies et ses rythmes ont des accents pop distinctifs, ils sont g\u00e9n\u00e9ralement accompagn\u00e9s par des guitares \u00e9lectriques, une basse et une batterie. <\/p>\n

Bien s\u00fbr, ces distinctions ne sont pas toujours aussi claires. Par exemple, dans mon assembl\u00e9e, qui est membre de la conf\u00e9rence fran\u00e7aise, on utilise de vieux recueils revivalistes aux c\u00f4t\u00e9s de chants contemporains \u00e9vang\u00e9liques \u2013 quand ils ne sont pas charismatiques \u2013 projet\u00e9s contre le mur. Nous nous sommes s\u00e9par\u00e9s de notre harmonium depuis longtemps, et la batterie se porte bien. Certains fr\u00e8res et s\u0153urs \u2013 parmi les plus \u00e2g\u00e9s \u2013 sont encore capables de chanter \u00e0 quatre voix, mais cette aptitude tend \u00e0 dispara\u00eetre parmi les plus jeunes. Cela ressemble \u00e0 un processus de transition : combien de temps allons-nous continuer \u00e0 chanter avec ces livres poussi\u00e9reux ? Combien de temps avant qu’un changement technologique efface des pans entiers de notre m\u00e9moire, de nos pratiques et de notre spiritualit\u00e9 ? <\/p>\n

La teneur de mon propos peut sembler quelque peu nostalgique, mais je ne crois pas que ce soit le cas. Ce n\u2019est pas non plus de la technophobie : les projecteurs vid\u00e9o peuvent \u00eatre des outils fonctionnels. Cependant, nous devons r\u00e9fl\u00e9chir \u00e0 la fa\u00e7on dont nous les utilisons, car les objets jouent un r\u00f4le important dans notre louange. Ils sont des instruments qui fa\u00e7onnent notre spiritualit\u00e9. Parfois, nous sommes conscients de ce fait. La plupart du temps, nous ne le sommes pas. Et lorsque nous n\u2019en sommes pas conscients, la technologie n\u2019est pas r\u00e9gul\u00e9e et devient un ma\u00eetre silencieux auquel nous ob\u00e9issons sans m\u00eame y pr\u00eater garde. <\/p>\n

Il y a un contraste entre les styles de louange en vigueur parmi les mennonites europ\u00e9ens, et il se r\u00e9percute sur nos diff\u00e9rentes mani\u00e8res de cultiver une spiritualit\u00e9. Les objets que nous utilisons, dimanche apr\u00e8s dimanche, alors que nous nous rassemblons pour c\u00e9l\u00e9brer notre foi, jouent un r\u00f4le important dans ces diff\u00e9rences. Et les outils que nous employons pour chanter ensemble sont significatifs du genre de chr\u00e9tiens que nous tendrons \u00e0 devenir sur le long terme. <\/p>\n

Chanter est une puissante activit\u00e9 qui fa\u00e7onne profond\u00e9ment ce que nous croyons. Nos pens\u00e9es peuvent vagabonder alors que nous \u00e9coutons un sermon que nous n\u2019en- tendrons probablement qu\u2019une seule fois. C\u2019est toute autre chose avec les psaumes, les hymnes et les chants de louange, car ils appartiennent \u00e0 un r\u00e9pertoire que notre communaut\u00e9 \u2013 ce qui inclut chacun de nous \u2013 chantera souvent. Les id\u00e9es th\u00e9ologiques exprim\u00e9es dans un sermon peuvent aller et venir, peu importe qu\u2019elles r\u00e9sonnent de fa\u00e7on frappante, int\u00e9ressante ou profonde. Communiqu\u00e9es par un chant, les m\u00eames id\u00e9es acqui\u00e8rent une long\u00e9vit\u00e9. Elles se s\u00e9dimentent quelque part dans notre subconscient. <\/p>\n

\u00ca nouveau, les \u00c9glises mennonites europ\u00e9ennes sont int\u00e9ressantes \u00e0 cet \u00e9gard. Comme je le disais, certaines d\u2019entre elles chantent \u00e0 partir d’un livre : par l\u00e0 j’en- tends qu\u2019un recueil mennonite existe dans la langue d\u2019une conf\u00e9rence d\u2019\u00c9glises, et que les communaut\u00e9s l\u2019utilisent pour leur louange. <\/p>\n

L\u2019Europe du Nord poss\u00e8de une tradition de recueils mennonites : les Doopsgezinden <\/em>hollandais ont le leur, et les mennonites germanophones d\u2019Allemagne et de Suisse en partagent un. \u00c9videmment, les anabaptistes n\u2019ont pas compos\u00e9 tous les hymnes contenus dans ces livres. Bien des chants viennent d\u2019un arri\u00e8re-plan r\u00e9form\u00e9, catholique ou \u0153cum\u00e9nique. Cependant, le r\u00e9pertoire compris entre les pages de couverture de ces recueils est en accord avec une th\u00e9ologie et une spiritualit\u00e9 anabaptistes. En ce sens, lorsqu\u2019ils louent, ces croyants et leurs communaut\u00e9s font entendre une fa\u00e7on distinctive d\u2019\u00eatre chr\u00e9tien. <\/p>\n

Les choses en vont autrement en Europe du Sud. Les mennonites espagnols ou francophones (Belgique, France, Suisse) ne jouissent pas du privil\u00e8ge d\u2019avoir un \u00ab\u00a0livre\u00a0\u00bb. Ils ont tendance \u00e0 chanter ce qui est projet\u00e9 contre le mur. La plupart du temps, leur r\u00e9pertoire emprunte \u00e0 des sources plus \u00e9vang\u00e9liques et charismatiques. Le caract\u00e8re distinctif de l\u2019anabaptisme tend \u00e0 s\u2019effacer, en particulier lorsque ces chants soulignent la \u00ab\u00a0puissance\u00a0\u00bb de Dieu tout en minimisant le fait que, en J\u00e9sus, Dieu s\u2019est vide de lui-m\u00eame et est devenu faible afin de nous atteindre. <\/p>\n

Au cours des derni\u00e8res d\u00e9cennies, les historiens de l\u2019anabaptisme ont fait un travail remarquable pour nous rappeler, \u00e0 nous, mennonites europ\u00e9ens, nos racines historiques. Cela nous a donn\u00e9 le sens de notre identit\u00e9. N\u00e9anmoins, pour convertir cette perspective en une spiritualit\u00e9 plus profonde, nous aurons probablement besoin d\u2019une g\u00e9n\u00e9ration d\u2019auteurs, de compositeurs et de th\u00e9ologiens qui nous offriront, ici, en Europe du Sud, un \u00ab\u00a0livre\u00a0\u00bb en accord avec notre foi. Et si ce livre est compatible avec un vid\u00e9oprojecteur ou une tablette, c\u2019est encore mieux. <\/p>\n

\"\"<\/em>Philippe Gonzalez est pr\u00e9dicateur dans une \u00c9glise mennonite de France (Saint- Genis-Pouilly). Il enseigne la sociologie dans une universit\u00e9 suisse.<\/em> <\/p><\/p>\n","protected":false},"excerpt":{"rendered":"

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