Hillsong Church Does Satanic Buddhist Dance During Christmas Service
A recently unearthed video from Hillsong Sweden shows their 2018 Christmas service extravaganza featured a dance routine on the stage that is traditionally done to honor the Buddhist deity Kuan Shi Yin, incorporating the “dance of a thousand hands” into a service designed to worship Christ.
For reference, Kuan Shi Yin, also known as some variation of Guan Yin, Guan Yim, Kuan Yim, or Kuan Yin, is the Goddess of Compassion, Mercy, and Kindness. According to legend, she vowed never to rest until she saved all unhappy beings. Realizing that she could not do it as she was, the Buddha gave her multiple heads and arms in order to help so many. She is frequently depicted with varying degrees of arms and heads, but always sitting on a lotus flower while wearing a headdress of some kind.
Naturally, this led the church, led by senior pastors Andreas and Lina Nielsen to incorporate this bizarre dance routine into their Christmas service, performed by members of Hillsong in an act of pure show and pageantry.
After a performance by the children’s choir, one of the men observing is asked why he is so grumpy, and telling him he needs to get down with the kids, promising him to “show him some moves.” This transition to an Asian-inspired version of Drake’s In My Feelings (Kiki do you love me?) song, cleaned up to not include the copious amount of f-bombs, n-bombs, and sexually explicit language this song features. (Again, why?)
While the troupe dances, you’ll notice that they have the same hand and finger positioning as the goddess, as depicted in the portraits, statues, and graven images of her. There is also a large lotus featured prominently in the background screen, the same as Kuan Shi Yin.
All happening in front of the entire congregation.
Hillsong has put on a lot of awful productions in their time. There was the insane one we just featured, the one depicting Jesus born in a riotous bar, (since deleted), Hillsong’s sensuality Christmas show with fleshly dancers, the Hillsong show with women writhing in nothing but towels, and their infamous ‘Silent Night Sleazy Night’ Christmas special from several years ago (also since deleted).
In terms of pure blasphemy, this puts all those to shame. To see a typical dance of a thousand hands, click here.
h/t to Brother John Elving for the video…
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Yeah, namaste, and all that.
Over this weekend I watched an interesting documentary on the Reformation. It briefly pointed out something that others have noted before. The Protestant iconoclasts who destroyed statues and paintings in European churches believing them to be idolatrous, have led some to comment that all Prots really did was replace the visual arts with the audial arts, that is, music. Protestants became as famous for music as Catholics were for paintings and statues. This started out lovely enough but has degraded over time. Beautiful four part choirs have been replaced with 90 decibel pop and grunge rock and as with hill song and much of Pentecostalism, worldly, crass musical theater. This has mostly reached its nadir in the Pentecostal charismatic movements that seek to make worship an emotionally wrought immersion experience. And these are the largest growth churches in the current church world. Because of the perception of growth Baptists and other evangelicals have followed them down that road.
Last year I read a blog piece called Music and Worship by Gary Gilley. He quotes from a book by Monique Ingalls entitled “Singing the Congregation, How Contemporary Worship Music Forms Evangelical Community” – “Since the late 1960s music and performers have moved from the place of servant to that of master. Where once music played a key but subordinate function in church life and public worship, it now dominates and determines what a church is and who attends. “Music has become the touchstone of evangelical religious life” (p. 2). As Ingalls’ research has revealed, “Within North American evangelical Protestantism, the presence of participatory music-making [CWM] has become, in some cases, the sole component that defines the activity as ‘worship’” (p. 17). And, “As evangelicals accepted the practices and associated beliefs, grounded in pentecostal-charismatic theologies of worship as divine encounter, their own understanding of worship shifted in the process…the affective, collective practice of singing contemporary worship songs, then, has become for many contemporary evangelicals the sum total of worship” (p. 18).”
There have of course also been writers who have deftly noticed the growing influence of Satan on the church, slithering in through the medium of contemporary music. But those voices are stamped out by those who require an immersive “worship experience” to even bother with church. I think this is the equivalent of Catholics who react vociferously to charges that bowing down and praying to statues is idolatry. The people who actually worship artistic experiences and mediums are going to lash out to protect those practices.