Gifts from Worshipping in a Multiethnic Urban Church – Part 1 of 2

By Brandon O’Brien

When we moved from Arkansas to New York City, we settled in Washington Heights in Upper Manhattan. Our decision to live in Washington Heights was determined primarily by economics. I just could not imagine paying so much rent for so little space somewhere like the Upper West Side.

So, completely naively, we moved into the Heights and immediately became ethnic minorities.

In addition to being white in a predominately Dominican neighborhood, my wife and I also have two adopted children. Both of them are ethnically different from us and from each other. We are quite a sight. And we’ve received our fair share of stares in the last several months—not just in the Heights. But the one place we feel totally normal is at church.

We worship in a new church called Christian Community Church of the Heights. Our service is bilingual—with music and announcements in both Spanish and English and a sermon delivered in English and translated live for Spanish speakers. The congregation is majority Latino but very diverse. In fact, the congregation reflects the ethnic diversity of the neighborhood (60-something percent Latino and 40 percent “other”). There are as many or more trans-racial couples as same-race couples.

Being surrounded by diverse families is a gift in itself, for a family like ours. We’ve received several other gifts by worshipping in a multiethnic urban church. Here are a few, presented as lessons learned. I’ve learned, for example:

Hips can be used in worship.

I’ve raised my hands in worship. I’ve bent my knees in worship. Doggone it, I’ve even clapped and swayed. But never before have my hips been tempted to involve themselves in worship. And it shows: they are very bad at it.

There’s a serious point in here somewhere. Style of worship is more than a matter of taste. Different musical forms open different possibilities, even theological possibilities. For example, I’ve sung the song “Blessed Be Your Name” in many churches in the last fifteen years. In all of them, the tone of that song has varied from reflective, even repentant, to triumphant. But when I sing it over a Caribbean bass line and rhythm section, a new possibility opens up. The song becomes positively celebratory.

In this case, musical style is a reflection of deep values and cultural personality. Our Dominican brothers and sisters know how to party, and they know how to bring that party to church. I never thought I could sing, “You give and take away” with a smile on my face. The fact that I can do it now is a gift from my diverse congregation.

*This article will continue in the next post.