Overt public displays of Christ’s rule (present or future) are not a common form of expression during Christmastime.
Even when Jesus is mentioned in a public setting during Christmas it is more of a nod to his beatitude teaching or maybe to the precious baby in a dingy manager. The Messiah as an effeminate university professor or a blubbering babe who needs his butt frequently wiped doesn’t necessarily bring us trembling to our knees in awe. At least not if we want to keep him merely a man or babe.
I promise, this is not a “War on Christmas” rant. I don’t think it should shock the church when people feel more comfortable with a jolly fat man who gives them presents than with a bloody bludgeoned God-man who gives them forgiveness for their sins. The more glib our cultural icons the safer we feel in our self-justified sinful state. A sword is not meant to feel too pleasant when it crashes down on our relationships, dreams, plans and life as we know it (Matthew 10:34).
That’s why I am so intrigued by the recent resurgence of interest toward Handel’s Messiah this season. Messiah‘s lyrics are thoroughly biblical and glorious as they depict King Jesus and His incarnation, suffering, resurrection and coronation in song. It is a God centered Christ exalting bible saturated and emotionally moving piece of choral art.
In this video, a “Christmas Food Court Flash Mob,” busts out in the “Hallelujah” chorus portion of Messiah. The crowd seems a bit surprised but mostly pleased by this seemingly random performance. I enjoyed seeing the banner of Christ raised in this unlikely setting. The tribute made me long for the future reign of our perfect King, where every knee shall bow and every tongue confess His glories (Phill 2:11-12). Christ is alive and well, and He can get His glory, even in a mall food court where materialism is king.