What is an Intergenerational Worship Service?
Commonly one of the most perplexing and often frustrating challenges a church endeavors to perform. Sometimes, this can be due to unclear expectations. Sometimes it is more a matter of trying to honor very different perspectives using very different means. The result is often a hodgepodge of different elements, some directed towards adults, some directed to children. What I find most helpful in working with congregations toward creating satisfying and effective Intergenerational Services is to come to consensus about what they are looking for. When I ask congregations to brainstorm their objectives the majority of responses fall into four main categories:

1. Meaningful and engaging for all ages
2. Has some accessible message which challenges us to transform our lives
3. Is distinctly different from - but not unrecognizable to - weekly worship
4. Not overwhelming or exhausting to produce

Brainstorming our objectives helps us form our own definition of "what an Intergenerational Service really is?" The definition I have used is the following: "A satisfying and transformative opportunity for a wide range of ages to explore common human theme within the context of liturgy."

Let's take the previous four basic elements of what we want to create and examine them more closely?

How do we engage, entertain and invite a transformative experience for a large cross section of ages and experiences?

1. Keep it simple
2. Try to choose everything with the idea of accessibility in mind. This includes:
   • The message
     Make sure the message is clear enough for anyone watching to be able to condense it down into one sentence
   • Music
     Try and choose hymns, songs, and musical accompaniment that are straightforward, simple, repetitive and "catchy" in words and melody
   • Components of liturgy
     It's very effective for both adults and children to use the same elements of liturgy in basically the same order. Adults recognize the worship element and children understand the solemness in ritual and are able to see that this is not "just a story" or "just playing around."
   • Characterization
     Each good Intergenerational Service story includes characters that are being challenged by a transformative experience. Focusing on these characters and less on the supporting characters adds to the power and accessibility of the message.
   • Costuming
     Keep the costuming to a minimum - only enough to suggest motivation, personality, or stimulate the imagination.
3. Movement and action: Services that aim to reach children work well when movement and action are incorporated into them. This is especially true when a character's personality is described in movement and where identifying characteristics are presented as movement or action. It is also good to make a few bold sweeping movements rather than a lot of small subtle movements. Remember - this is only effective when balanced with moments of quiet, stillness and reflection.
4. Remove the space between the congregation and the "worship team" Try to use the whole sanctuary. It is often helpful to have a different seating arrangement for intergenerational events. Circular forums often work nicely. Children love to sit up front where they can see clearly and feel that they are part of the action and the set. The worship team can augment this by taking the action into the congregation. (when microphones permit). For congregations who are brave the possibility of spontaneous congregational participation is possible.
5. Repetition, repetition, repetition: It is nice when a certain musical melody is (re)introduced at various points in the service to recall a character, a mood, a place, or a time. Have characters use familiar movements. It is also good to have someone (it could be a character or a narrator) help tie the message to the action. This narrator could be introduced early on and re-introduced periodically throughout the story. This can effectively tie the elements of liturgy to the story's natural lessons.
6. Participation of Children: Children love to participate. However, they can also experience unexpected anxiety at the last minute which can be uncomfortable for them as well as for the rest of the worship team. Where comfort and confidence allow, children can be cast in certain roles. They can also participate by being dressed in costume, or simply by watching from a place where they are part of the set. They can be referred to in general terms as "the other characters/children in the story" (such as the children who go to Treasure Island in Pinocchio). It can also be effective when adults play children's roles. This makes these adults very accessible to the children and it also helps the children identify with the characters being portrayed.
7. Create accessible characters with obvious motives/concerns. Complex characters make complex stories. Having characters with one dominant issue/motivation usually works best. However, this need not be dry or one-dimensional. For instance, a character whose issue is a lack of self confidence may be easier to identify with if he/she tries to cover up the issue by being a braggart or a bully. This would need to be explained by a narrator. Narrators can also be effective when they have some sort of dialogue with the audience. When a character's concerns are stated or portrayed the narrator may ask, "Has this ever happened to you?" This is invitational to the congregation and moves the service from presentational to participational.
8. Create tension. Tension is usually found within the presented formula: stated goal -> conflict - > stretching -> growth -> resolution/redemption. Goal: This is the character's expressed ideal of what they most want to happen in their life. It is helpful to periodically restate the goal. Conflict: This is the element or the fear that keeps the goal from being achieved. As with the goal, it is effective when the conflict is clearly stated and consistently present. Thus, the goal and the conflict are of premier importance and should always be brought to the attention of the congregation. The goal should be the main aspect that everyone can identify with and the conflict something that everyone has encountered. (Examples: Pinocchio, The Velveteen Rabbit. Goal: wanting to be real, expose our inner feelings and experience life. Conflict: finding that we can be hurt when we make ourselves vulnerable.) Stretching: This refers to the character's creative attempts (usually unsuccessful) to achieve the goal or resolve the conflict. Growth: This occurs when the character does two things: achieves the stated goal and learns/experiences something transformative about himself/herself. Resolution/Redemption: Resolution describes how the conflict is now resolved. Redemption shows how the character can now use the lessons learned to live a more satisfying and meaningful life.

How do we have a message that challenges us to transform our lives?

1. Keep it Simple
2. Use a very simple composition, or a very well known story Think of this as a sermon where a children's story is your text and drama, dance, music and the spoken word are your formats.
3. Clearly identify the goal of the character(s) in the story This is generally successful when the essence of the goal can be stated in one sentence. It generally fails when it can't.
4. Clearly identify the conflict the character(s) face in the story. Again the one sentence rule applies. Yet, it is often effective when the character(s) take this goal and attempt to realize it in several scenarios, each time being thwarted by the same conflict. This both clarifies the goal/conflict theme and builds tension.
5. Clearly identify moments of stretching This is seen when the character(s) try to achieve their goal by creatively confronting (or avoiding) the conflict.. This builds tension and invites the congregation to identify with the issue being presented.
6. Clearly identify the growth moment in the story This is the "aha" moment or the peak learning point. This is where the velveteen rabbit knows he is alive because he sheds a tear. This is where Dorothy and her friends realize they already have what they were searching for because they've already employed their desired traits
7. Clearly identify the resolution/redemption of the character(s) in the story This can be seen when the character puts to use the growth that was found. This is demonstrated when Pinocchio goes off to school with other real little boys. It is seen when Dorothy uses her newfound understanding to return to her home and be with her family in a new way.
8. Have some means of summary This is where the narrator becomes very effective. Not only can the narrator invite the audience to examine their lives in relationship to the character(s) presented, but they can help them bear the frustration of conflict and celebrate the joy or redemption. In this sense, the narrator is something of a companion on the journey, or a tour guide who helps point out some of the subtle joys and concerns en route.
9. Challenge congregants toward internal transformation and not external transformation The difference here is important. It is between relevant personal growth and moralistic attitudes. For this reason it is best to avoid obvious "good vs. evil" themes. Also avoid clear-cut villains. The conflict should be something that we wrestle with inside our souls (children are especially good at this), instead of something that has the obvious conclusion: avoid evil. Few adults are eager to consider generic evil as part of their personhood, especially in an intergenerational. service. Further, it can be very uncomfortable for children. However, breaking evil down to specific characteristics is effective, for instance, instead of evil itself, consider the conflicts posed by temptation, or pride, or sloth. These are a little easier to see within ourselves and thus make effective areas of personal reflection and transformation.

How do we make Intergenerational Services distinct from other worship but still decidedly "worship"?

1. Keep it simple: Few things can obfuscate the presence of worship like a convoluted plot, too many unrelated themes, and too many characters.
2. Use hymns that are easy: Easy hymns are recognizable. They have short verses and a simple chorus. The best hymns are the ones where the hymnal is not necessary and the verses can be shouted out in the refrain. It is also a plus if the hymn lends itself to movement, clapping or swaying.
3. Use music to introduce mood. This often requires some sort of improvisation. If musical accompaniment isn't an option, it is sometimes possible to use a trio of voices, or some simple drums. Even kazoos or rainsticks can be creatively incorporated. You might find it effective to reintroduce a melody or a particular instrument each time the congregation is reminded of the goal, the conflict, stretching, growth and redemption. Thus each element of the storyline would have it own recognizable sound.
4. Create familiarity and distinguishable differences in the room. The goal is worship. More precisely, worship for everyone present. Thus, because there are different people present compared to a traditional service, there should be a different approach in place. It is important to insure that all the elements of worship are present and incorporated. For instance, the chalice, the elements for joys and concerns, the bell for meditation, etc. Few things will throw off a worshipper's ability to feel worship like a missing component or element. Yet it is often considered permissible, even welcomed when certain changes are incorporated. Thus the position of the chalice in the room can change. The officiant can say different words (unless a particular element is ritualistically repeated verbatim). Seating is encouraged to be different, especially taking into consideration children's desire to see, sit with their parents, their fidgety-ness (especially when they are in the presence of movement, action, laughter or interesting characters. Also, the worship team can be in costume and doesn't always have to be up front, sitting solemnly on chairs.
5. Maintain elements of liturgy in the same order. Each congregation has set into place a certain liturgy - a ritual progression of the elements of worship, it can be very disturbing to some people to have the elements of worship delivered out of order. Try to keep to the same order and incorporate the same sense of solemn purpose. Creativity, playfulness and humor are possible as long as they don't overshadow the intended purpose of each element in the liturgy.
6. Present the elements of liturgy in the context of the story Ideally in this format, the characters are introduced immediately along with the stated goal and a hint of the conflict. This begs our attention and draws in the children quickly. The story doesn't need to stop in order to present or experience the various elements of liturgy. They can be incorporated in. In fact, they can be part of what helps clarify the story and asks the congregation to reflect on and compare their own experiences.
7. Use elements of liturgy to clarify the story
   Chalice Lighting: State the relevancy of the goal and the conflict
   Call to Worship: A time to join together in wrestling with a common adventure
   Meditation: Reflect how the conflict touches all of us in some way
   Joys and Concerns: Have you had this goal? Have you felt this conflict? Do you know someone who is experiencing it now?
   Offertory: What about this goal-conflict journey do we feel thankful for? How does that gratitude extend to this institution which makes such reflection possible?
   Sermon: This is the stretching-growing-resolution aspect of the story
   Closing: Let us use what we learned
8. Try to stay in character: It is effective to have the characters deliver the aspects of worship while in character. It helps both the story and the worship work better and flow more continuously. If possible, it helps to do the elements of worship within a particular scene of the story. For instance, a prayer could be incorporated where Pinocchio finds himself in chains on Treasure Island, or Joys and Concerns could be delivered by Jeppetto from inside the whale's belly.

How do we make sure the production is not overwhelming or exhausting to produce?

1. Keep it simple
2. Have clear stages of development. I have found that this works best when there are five stages of development: Group Brainstorming: This takes place with the entire worship staff (Minister, DRE, music person, service leaders etc. Most congregations have a crew of creative people, dancers, dramatists etc. These people would also be encouraged). Here basic theme is discussed with respect to type of service and date of calendar. Rough guidelines are offered, perhaps a story is suggested and the ideas and objectives are handed over to a creative team. Creative Stage I: Story is selected and broken down into five to seven scenes. Spots for the elements of worship are selected within the story (i.e. where would the chalice lighting, call to worship, hymns, fit into the story). Develop a rough idea of which of the story's characters will be the primary characters, and who will play those roles. Write a rough draft of scenes and dialogue (this is the most time-consuming aspect and usually takes approx. 15 -20 hours. I find it works best if two people collaborate on this portion.) Group Feedback: The draft is presented and the group offers more brainstorming and criticism. The intent is to identify areas of potential problems, help offer creative direction, fill in the hymns or accessory music, refine character development or plot line. Casting suggestions can also be done at this time. With regard to casting, it can work nicely to have prominent people within the congregation (president of the board, chair of finance, etc.) play roles that the children can relate to. This helps build some relationship between these people and the children and helps the children feel a relationship to the workings of the institution. On the other hand, this can also work as an avenue to help new members introduce themselves to the congregation and feel more known/ incorporated Creative Stage II: This involves the completing of the script. Dialogue is completed and staging is incorporated. The hymns and accessory music are all written in and the casting decisions are finalized. Any props that are necessary are identified and their creation/ procurement is delegated. Rehearsal: Rehearsal is important but needn't be overwhelming. There are a few things that will determine how much rehearsal is needed: Dialogue - It is nice when dialogue can be kept to a minimum. Three suggestions to this end are use of 3x5 cards, off stage voicing, using the narrator as the voices of the characters (in the latter two choices the characters can pantomime, which is much easier to memorize.) Staging - It can be helpful when the staging is made very clear in the script! Number of people - Obviously, the more people involved the harder it will be to organize. A good balance needs to be struck between degree of participation desired, people willing and time available.
3. Producing effective services with little money We all want an effective, convincing presentation. And the temptation to purchase items which will lead to a more impressive presentation can be a dilemma. It can be helpful to remember - and even use as a guideline - that the goal is not to be impressive. The goal is worship. Generally this can be done with little cost. A little makeup and some creative clothing can help a script come alive. When costuming or some props are necessary to convey an idea or present a character, they can often be fashioned from scrap material and a remedial seamster/seamstress. If they turn out looking odd or funny - even better. Write it into the script.

Creating opportunities to worship with our children is important Many of the people who come to our churches express a strong need to foster closer relationship with children, whether or not children are presently part of their lives. Much of our spiritual growth as adults has to do with reconciling experiences we had as children. Further, our mandate as religious educators calls us to create environments where our children have trusting relationships to the people around them of all ages. We seek for them to understand their own values and be able to articulate them. And we want them to know there is a place where they feel they belong. Intergenerational worship makes all these goals possible. And it is fun, memorable and meaningful.