10 Standing in the Middle of the Ocean: Time for a Public Theology
195
The merit of Kempf’s approach lies in the manner in which he situates the Noah
story within its life-setting in Kiribati: he is not seeking to deflect the critique of
media headlines or the predictions of western science. In a way he is anticipating
the kind of thinking which is to be found in Timon’s songs of resistance, lament
and providence. What Kempf is mediating is the confusion of the i-Kiribati on first
becoming aware of the ‘scenarios of inundation and disappearance’ immersed in the
alien language of climate science and its subsequent revision. Kempf anchors his
enquiry through the ‘anticipatory power’ of the words of ‘locally composed songs’.
Rather than being left standing in the middle of ocean with Timon Kempf selects
songs of the Bitibiti singing group based on South Tarawa (p. 35). One in particular,
Taekan Rabakau, was designed to address the scientific theory that ‘unsettled us
deeply’ being handed on. Where Kempf differs from Timon—and this difference is
made possible through his choice of song—is how he ties the exegesis of the lyrics
back into the problematic Noah text. In his coconut theology of climate change the
only biblical references Timon made were to Psalm 137 and John 10:10.
At first the words of Taekan Rabakau drew upon the Noah story as a counternarrative: it sought to advance the claim that the ‘Christian God is above such things
as [Western] science and the statements of its representatives’ (pp. 36–37). Over
the subsequent years with further knowledge the song is less of a song of denial of
climate change per se: it becomes rather a call to ‘stick to our faith and believe that
something is alright’ (p. 37). God would not let the people down (p. 38).
The standard critique of how the Noah story can inform a contemporary audience
is inclined to ignore the nuanced movements within the narrative. Kempf draws
out the potential for such through his second song, Ai kamira kanoan te bong. The
emphasis moves away in time from the rains falling, the waters rising, bows in
the sky and promissory covenants. In place of passivity is a theme of preparation.
Noah was warned of the imminent flood and given time to make ready. The cultural
backstory for the text has become one of climate change rather than the need for
an aetiological myth. Now the warning with regards the incursion of the sea comes
via scientific prediction (p. 41). Through interpreting Noah by way of these songs
Kempf concludes that a ‘local way out of the valley of negation’ has been found
(p. 43).
This prophetic way in which to interpret the Noah story represents the second of
three ways in which Fair concluded the narrative could be read. The first had been
which took the covenant as a sign of continuity of the world as it is known (Fair, p.9).
In this second option Noah becomes an ‘icon of preparation’. It is possible to set him
alongside the patriarch Joseph whose capacity to interpret dreams enabled him the
prepare Egypt and his own family for famines (pp. 9–10). Fair’s theory of multiple
perspectives and accent on storytelling is allowing for much more variegated reading
of Noah to emerge than is commonly believed to be the case in cross-disciplinary
enquiries. The full advantage of placing the Noah narrative inside its life-setting
in an indigenous culture is then evident in Fair’s most radical option. She assigns
responsibility for this reading to an ‘Ezekiel’ (who actually turns out to be Talia)
who wished the reception of biblical stories to be released from the ‘missionary
enterprise’. Talia is seeking a far more liberative and subversive reading. Now the
195
The merit of Kempf’s approach lies in the manner in which he situates the Noah
story within its life-setting in Kiribati: he is not seeking to deflect the critique of
media headlines or the predictions of western science. In a way he is anticipating
the kind of thinking which is to be found in Timon’s songs of resistance, lament
and providence. What Kempf is mediating is the confusion of the i-Kiribati on first
becoming aware of the ‘scenarios of inundation and disappearance’ immersed in the
alien language of climate science and its subsequent revision. Kempf anchors his
enquiry through the ‘anticipatory power’ of the words of ‘locally composed songs’.
Rather than being left standing in the middle of ocean with Timon Kempf selects
songs of the Bitibiti singing group based on South Tarawa (p. 35). One in particular,
Taekan Rabakau, was designed to address the scientific theory that ‘unsettled us
deeply’ being handed on. Where Kempf differs from Timon—and this difference is
made possible through his choice of song—is how he ties the exegesis of the lyrics
back into the problematic Noah text. In his coconut theology of climate change the
only biblical references Timon made were to Psalm 137 and John 10:10.
At first the words of Taekan Rabakau drew upon the Noah story as a counternarrative: it sought to advance the claim that the ‘Christian God is above such things
as [Western] science and the statements of its representatives’ (pp. 36–37). Over
the subsequent years with further knowledge the song is less of a song of denial of
climate change per se: it becomes rather a call to ‘stick to our faith and believe that
something is alright’ (p. 37). God would not let the people down (p. 38).
The standard critique of how the Noah story can inform a contemporary audience
is inclined to ignore the nuanced movements within the narrative. Kempf draws
out the potential for such through his second song, Ai kamira kanoan te bong. The
emphasis moves away in time from the rains falling, the waters rising, bows in
the sky and promissory covenants. In place of passivity is a theme of preparation.
Noah was warned of the imminent flood and given time to make ready. The cultural
backstory for the text has become one of climate change rather than the need for
an aetiological myth. Now the warning with regards the incursion of the sea comes
via scientific prediction (p. 41). Through interpreting Noah by way of these songs
Kempf concludes that a ‘local way out of the valley of negation’ has been found
(p. 43).
This prophetic way in which to interpret the Noah story represents the second of
three ways in which Fair concluded the narrative could be read. The first had been
which took the covenant as a sign of continuity of the world as it is known (Fair, p.9).
In this second option Noah becomes an ‘icon of preparation’. It is possible to set him
alongside the patriarch Joseph whose capacity to interpret dreams enabled him the
prepare Egypt and his own family for famines (pp. 9–10). Fair’s theory of multiple
perspectives and accent on storytelling is allowing for much more variegated reading
of Noah to emerge than is commonly believed to be the case in cross-disciplinary
enquiries. The full advantage of placing the Noah narrative inside its life-setting
in an indigenous culture is then evident in Fair’s most radical option. She assigns
responsibility for this reading to an ‘Ezekiel’ (who actually turns out to be Talia)
who wished the reception of biblical stories to be released from the ‘missionary
enterprise’. Talia is seeking a far more liberative and subversive reading. Now the