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This article aims to explore a ‘lived discipleship’ by determining whether and how contemporary communities of faith could implement the norms and principles reflected in the Emmaus narrative of Luke 24:13–35 within a plausible epistemological framework that might facilitate a fresh understanding of Christian followership as discipleship. This was done through an empirical case study using two focus groups as co-researchers, in order to actively listen to their respective understandings of lived theology in their unique South African contexts. The two focus groups consisted of (1) a contemporary Christian grouping of Afrikaans-speaking, active churchgoers situated in Hazeldean, a suburb in Pretoria East, Tshwane, Gauteng and (2) a contemporary Christian grouping of African, active churchgoers situated in Ivory Park, a suburb in Tembisa, Ekurhuleni, Gauteng. This article concluded that Luke 24:13–35 nudged the co-researchers to re-evaluate their contemporary understanding of discipleship and moved them to additional and new perspectives in terms of practical expressions thereof that can be best described as ‘lived followership’. A shift from perceiving Jesus in terms of an ‘act to follow’ by gaining the correct knowledge, to following Jesus as ‘a performative act’, a shift from ‘theoretical knowledge’ to ‘heart knowledge’. Contribution: This article is a part of the Festschrift for Prof. Stephan Joubert. This article plays into similar creative interdisciplinary relationship as seen in the work of Prof. Joubert, by looking at the relationship between New Testament and Practical Theology in order to improve practices of faith that is rooted in a biblical understanding of Jesus.

Covid-19 has caused suffering on many levels and there is no doubt that the consequences will be felt for years to come. During the pandemic, people were also reminded that, throughout history, people have been subjected to immense suffering. The First World War (1914--1918) ended just over a hundred years ago. In this devastating war that "had to prevent all further wars", 22 million people died. In the year it ended, the Spanish Flu broke out and another 50 million people died. Perspectives on past events that adversely affected the lives of people might help people to interpret their own situation and see the present in a different perspective. One could ask: what sustains people in difficult times? What gives them courage? What gives them resilience and helps them through lockdowns? In this article, it is argued that faith, lived religion and rituals can give people new perspectives and that hymns, that is, songs of faith, play a significant role. A hymn of German origin, Wer nur den lieben Gott lässt walten, is presented as an example. The background to the origin of the text is given, whereafter the original German text and the Afrikaans translation, as well as the revised versions of the translation, are discussed critically. A futher discussion of the reception history of the hymn follows, showing its use during war and in two films, and how it could function as an illustration of lived religion. The writer of the hymn text, Georg Neumark (1621--1681), was born during a devastating war in Germany that lasted thirty years. In his early twenties, he travelled to Königsberg to study law, but was robbed of all his earthly possessions by highway robbers mugging the mail coach. He interpreted his difficult existential circumstances from the perspective of lived religion and wrote a hymn of comfort, a "Trostlied", Wer nur den lieben Gott lässt walten, encouraging himself and others by saying that one should let God be in control of one's life and that one could trust God. The text contains striking alliteration and assonance that lend a poetic quality to it. It is accompanied by a touching melody that Neumark composed for the text -- the only melody written by Neumark that is known. The text with seven stanzas was first published in Neumark's song collection Fortgepflanzter Musikalisch-Poetischer Lustwald (Jena, 1657) and has been translated into several languages. The English translation entitled If thou but suffer God to guide thee was done by Catherine Winkworth (1855, 1863). In 1931, GBA Gerdener translated it into Afrikaans. Six of the seven stanzas were retained in the first offficial hymnal in Afrikaans, Psalm- en Gesangboek (1944). The text was amended and drastically shortened to three stanzas for the second official hymnal, the Psalm- en Gesangboek (1978). More radical changes were made for the version published in the third and current official hymnal, Liedboek van die Kerk (2001). The original Afrikaans translation relied heavily on a Dutch translation by Abraham Rutgers (Liedboek voor de Kerken 1994:429). It reflected certain problems in the Dutch translation, but stayed true to the original German text. When the Afrikaans text was revised at various stages, however, the original German text and the texts on which the original was based, were not considered sufficiently. Significant features of the original text thus got lost, especially in the latest version in Afrikaans. It is argued, however, that certain aspects of the current text, coupled with aspects of the old text in Afrikaans that are still alive in the hymnic memory of people, and carried by the very fitting melody, could still sustain people in difficult times. The reception history of the hymn in contexts where the original text plays a strong role and also where translations close to the original are used, shows its use on various levels as part of the lived faith or lived religion of people. Besides being a source of comfort to civilian Germans during World War 1, the German version was also used for militaristic and patriotic purposes during the war. It plays a prominent role in two films -- Babette's Feast (1987), a Danish film, and Vaya con Dios (2002), a German film. The films illustrate that God's voice can be heard in songs of faith and that this hymn can open up broader perspectives, and give people a voice in difficult circumstances. In the films, the hymn expresses gratitude, love, community and trust. The hymn can remind people that God is present in dark days and in suffering and can give hope. It can remind people of God's love and indicate the path they need to follow. The performative power unleashed when singing the hymn, can transform people. It is argued that when the hymn is sung, space can open up and people be freed from their confinement, their lockdown and their shelters. They can sing, pray and follow God's way -- and in doing so, also comfort and support others. [ABSTRACT FROM AUTHOR]

As part of the search for relevant and contextual articulations of theology, this article provides an overview of a comprehensive research project that explored, described and analysed Christian motifs on Twitter. Based on the brief overview of the project, perspectives for the formulation of a Twitter theology are presented from a practical theological orientation. Two central markers are indicated and described as primary drivers of a Twitter theology: the first marker places its focus on the relationship, dynamics and functioning of aspects of authority and normativity in facilitating a Twitter theology. The second marker puts particular emphasis on the value and significance of using aphoristic formulations in the elucidation of a comprehensible Twitter theology. The article presents important strategic perspectives on the practice of a Twitter theology, as well as the formulation of a relevant contextual theology.

The reflection on film will be situated within the framework of popular culture and livedreligion as recognised themes within the discipline of practical theology. It is argued that theperspective of viewers is of importance within the process of meaning-making. By focusing onthe experience and meaning-making through the act of film-watching the emphasis is not somuch on the message that the producer wishes to convey but rather on the experience that iscreated within the viewer. Experience is not viewed as only emotional, but rather that, at least,both the cognitive and emotional are key in the act of watching a film. It is therefore arguedthat this experience that is seldom reflected on by viewers could serve as a fruitful platform formeaning-making by the viewer. In a context where there seems to be a decline in institutionalisedforms of religion, it is important to investigate emerging forms of religion. Furthermore, theturn to the self also makes people’s experiences and practices in everyday life valuableresources for theological reflection. This reflection could provide a theoretical framework forespecially empirical research on how film as specific form of media serves as a religiousresource and plays a role in the construction of meaning and religious identity.

This article uses a fictionalised encounter as the basis for an autoethnographic exploration of the intersections between the South African social value of ubuntu and the notion of spatial justice. Ubuntu describes the interconnectedness of human lives. It asserts that a person is only a person through other people, a recognition that calls for deep respect, empathy and kindness. Ubuntu is expressed in selfless generosity and sharing. The spatial turn in the social sciences and humanities has resulted in a concern with the relationship between space and justice. It recognises that space is not simply an empty container in which people live and act, but is something that is constructed by social relations – and simultaneously constitutive of them. While this recognition gives rise to spatial perspectives on justice, what constitutes spatial, justice, as distinct from other notions of justice, and how such justice is to be achieved are contested. Building on the work of legal scholar, Andreas Philippopoulos-Mihalopoulos, on spatial justice, I argue that the notion of ubuntu is able to shape our understanding of spatial justice, and when practised, it is able to disrupt space and challenge dominant spatial configurations.

This article aimed to provide a critical appreciation of a postfoundational practical theology as developed by Julian M�ller and a further exploration of this approach towards a public Christology. The logos of Christology is crossed out, but not erased as it is not a new theory or system or dogma, but rather a spirituality. Such a public Christology was unpacked as a postmetaphysical reformed spirituality in the three publics of academia, society and church.