Is a ‘postmodern organization’ an oxymoron? Richard Tiplady’s chapter in the book, “Postmission” explores the link between postmodern thought and organizational structure.
Tiplady begins his article with a couple of riders. He reminds us that postmodernity is not necessarily a coherent concept that can be pinned down. Some corporations developed or run on postmodern principles have failed. He distinguishes between postmodernity and postmodernism. Postmodernity refers to the social and cultural changes perceived to be impacting the world at this point in history, associated with changes taking place over fifty years. Postmodernism is the thinking and ideas that have developed around those changes.
Tiplady draws on Stanley Skreslet’s description of the 21st century mission organisation:
niche oriented (more specialised with a clear focus in ministry or geography) and networked (an alternative to command and control).
Michael Foucault’s insights on power are used in an exploration of team diversity in the mission organisation. The development of diversity of gender, generation and culture brings to the fore assumptions about what is normal. Foucault identifies a definition of ‘normal’ as a use of power that marginalises. He is concerned that people work out of discourses or world views that know nothing of one another or exclude one another. Tiplady develops a power/resistance matrix to articulate different discourses so as to reveal the arbitrary nature of every rule and norm. For example Jesus healing on the Sabbath reveals the lack of consistency in the ways Sabbath laws favour those in power - male property owners.
Tiplady says that a postmodern organisation will marked by the encouragement of diversity and free exchange of opinions and views. Leaders will allow the exposure and challenge of previously unseen and unintended power plays at work behind all normal operating principles and procedures. The goal is not to arrive at new compromise of norms, but to develop an environment in which continued questioning can happen. The postmodern question: “Who says it has to be that, and not this?”
Tiplady finishes by drawing on the work of Gilles Deleuze on chaos and leadership. Chaos theory provides an alternative to classifying systems as closed or open random. In the 1960s Deleuze noted that fascism came from forcing a choice between disorder/anarchy and state-imposed order. Changes come about because chaotic/complex systems are highly sensitive to initial conditions. A amall change can push a system across the ‘bifurcation point’ into new and radically different behaviour.
Since 2002 Tiplady has published two of his own books on globalisation:
World Of Difference : Global Mission At The Pic’N'Mix Counter
Globalisation and postmodernity are combining to create a world characterised by difference and continual change. My latest book looks at how this will affect the practice of mission, and especially how mission agencies (and all organisations) can change to thrive in such a context.
One World or Many? The impact of globalisation on mission
Globalisation is a major factor in today’s world. This book, which includes chapters by writers from around the world, considers its implications for Christian mission. One of the key arguments of this book is that globalisation will lead to a more diverse, complex and plural world, rather than the homogenised Western one we so often assume that the term describes.
I’ve often said that if Baby Boomers rebelled against instutitions, Gen Xers have merely ignored them. Tom Beaudoin, in his book, Virtual Faith, explores popular culture to unpack Gen X suspicion of religious institutions.
Tori Amos’s Crucify Video, directed by Cindy Palmano, is included in the 1992 video, Little Earthquakes.
On the tape the clip is introduced with the images of a swinging cross and a gilded bird cage. Beaudoin reads this sequence as an attack on the Church as an institution that “selfishly cages its glinting, dubious truth and hyptnotizes its adherents with a gilded message.”
The video itself features a baptism. From the Tori Amos site, Hereinmyhead, we’re told “Cindy was always weaving in a sub text - Elizabeth the first getting baptized and then doing her saucy strumpet shimmy after being blessed, of course.”
REM’s “Losing My Religion”, directed by Tarsem Singh, won many awards when it was released in 1991. Beaudoin zeroes in on the image of spilled milk, one of the many symbols used in the clip that express loss of the sacred. The video is available on REM’s VHS & DVD video, “This Film Is On”, and on In View: The Best of REM 1988 - 2003.
Soundgarden’s 1994 video, Black Hole Sun, features four ’sinister ministers’ who ravage the lives of middle class suburban consumers. Beaudoin uses this video to highlight Xers’ “righteous rage ata Christian Church that has fused and confused itself with the American dream so deeply”. The video is available on MTV20 Rock.
In his section on ‘electronically leveled institutions’, Beaudoin explores the subversive capacity of the cyberworld. He admits that hierachy and institutional power still make their presence known on the Net. However he points to the pluralist nature of the web community in which ‘orthodox’ and ‘heterodox’ religious groups and traditions exist side by side. The sheer number of people writing on behalf of their religious perspective underminses the ability of any person or group to speak on behalf of all.
The online community provides institutions the capacity to reinvent themselves in a fluid environment. Christian leaders who engage in online conversation have to find a voice that is not compromised by unthinking allegiance to middle class values. Likewise GenXers exploring their own spirituality are able to consider ways in which they can deconstruct the religious institution, redeveloping a new approach even while holding on their irreverence.
Beaudoin considers the significance of the crucifix as fashion statement. He points to the Madonna 1984 video hit, Like a Virgin, as a symbol of the ambiguous use of a Catholic talisman. While it is a poke at the religiosity of previous generations of Catholics, there is a sense of connection with an honoured spirituality. At the same time, this is an exposure of the pre-Xer use of the crucifix as fashion statement.
Tom continues the anti-Catholic theme with the Nirvana video, Heart-shaped box. Slant magazine puts this video as number 81 in their list of the 100 greatest music videos. Their review:
Nirvana’s “Heart-Shaped Box” is as ripe with allusions as it is oversaturated with color (the video was shot in black and white and then computer-colorized).
Directed by Anton Corjbin, the clip features surrealistic images including a winged, gluttonous woman reaching for plastic fetuses hanging from a tree and an emaciated Jesus with a Victorian beard and Santa hat climbing onto a cross.
While the song makes vague references to cancer, umbilical cords and meat-eating orchids, the video entangles faith and sickness with the clarity of a man who’s damn close to giving up his eternal search.”
Beaudoin uses this hostile video clip to remind Catholic readers they must rediscover Jesus as a vital figure at the heart of their lives. He picks up on the depiction of Jesus as an old man, in both the Nirvana and REM clips, and asks if the Christian Church has distanced itself from the dangerous memory of Jesus’ revolutionary practice. Good point.
Beaudoin is unpacking what he means by irreverence. This is a term many older people find hard to grasp. Religious institutions are knocked off the pedestal of guaranteed awe and respect. Symbols and ideas held precious by previous generations are subjected to derision and mockery.
Irreverence is not a new phenomenon. Dave Allen, Irish comedian who died only a month ago, was the master of irreverence. He made his mark back in the 1970s when he impersonated the Pope doing a strip tease. I remember watching Dave Allen on TV with my parents. Dad was laughing his head off. Mum was constantly offended. Take a look at Dave’s obituary at the Guardian.
Although irreverence is not new, it is certainly becoming the hallmark of GenX communciation and behaviour. I think this trend has been entrenched in Australian culture for some time, much more than in American culture. Just take a look at ABC’s CNNN to see what I mean. Beaudoin’s use of music videos shows us that irreverence has bled out of the comedy sketch, picked up a strong dose of irony, and showed its strength in GenX popular culture as a whole.
Richard’s a consultant based in the UK working with Christian Vocations, Tearfund, Scripture Gift Mission, USPG, Oasis Trust, Global Connections, World Evangelical Alliance Missions Commission, Radstock Ministries, Afrika In Touch. He’s well qualified for his contribution to Postmission’s exploration of the implications of generational and philosophical change for mission organisations.
Tori Amos’s Crucify Video, directed by Cindy Palmano, is included in the 1992 video, Little Earthquakes. 
REM’s “Losing My Religion”, directed by Tarsem Singh, won many awards when it was released in 1991. Beaudoin zeroes in on the image of spilled milk, one of the many symbols used in the clip that express loss of the sacred. The video is available on REM’s 
