Scholarly Journals 

Abstract
University coordinators are essential mid-level administrators responsible for managing academic and student-facing programs. However, their role becomes ambiguous and increasingly complex in the absence of direct supervision, such as a missing director. This paper explores the multifaceted responsibilities of university coordinators, analyzes the implications of organizational voids, and critically examines the ethical and operational challenges faced when coordinators are placed in compromising positions. Drawing from hypothetical scenarios and personal experience, this work highlights the structural issues that hinder effective leadership, communication, and student advocacy.

Introduction
Higher education institutions rely heavily on organizational hierarchies to maintain efficiency and accountability. Within this framework, coordinators often serve as essential links between executive leadership and on-the-ground operations. Despite their critical functions, the role of a coordinator is often ill-defined when directorship is absent. This paper investigates the responsibilities of a university coordinator, the challenges faced in a structurally deficient environment, and the ethical dilemmas that arise from limited decision-making power.

I. The Function and Scope of a University Coordinator
University coordinators are typically responsible for managing daily operations of academic programs, overseeing student services, scheduling, liaising with faculty, and ensuring compliance with institutional policies. Depending on the department, they may also supervise staff, manage records, facilitate events, and handle communications. While the position is managerial, it often lacks the authority that accompanies directorship or executive roles.

II. The Absence of a Director: Two Hypothetical Scenarios

A. Scenario 1: The Coordinator Assumes the Role of Director
When a coordinator assumes the role of an absent director, they often take on additional responsibilities such as strategic planning, staff evaluations, and higher-level administrative tasks. This scenario requires the coordinator to operate beyond their job description, increasing their workload without the accompanying authority or compensation. The benefits include continuity and minimized disruption for students and staff. However, the downside lies in overextension, lack of formal recognition, and potential overstepping of boundaries.

B. Scenario 2: The Coordinator Does Not Assume the Role
Alternatively, if the coordinator does not assume the director's role, gaps in leadership may hinder the department’s effectiveness. Without someone to advocate at the executive level, important initiatives may stall, and staff morale can decline. The coordinator, although aware of what needs to be done, becomes constrained by institutional policy and hierarchy.

III. Institutional Complications

A. Lack of Control Over Operational Budgets
One major challenge for coordinators in either scenario is the lack of control over the operational budget. Coordinators may identify needs such as hiring temporary staff, funding student events, or acquiring resources, but are unable to act without financial authority. This bottleneck leads to delays and inefficiencies, frustrating both staff and students.

B. Decision-Making Constraints
Even when a coordinator steps up to fulfill leadership duties, their inability to make final decisions without approval from executive directors, vice provosts, or provosts curtails their effectiveness. This dependency on higher-level approval slows down responsiveness and undermines the coordinator's perceived and actual leadership.

IV. Ethical Dilemmas and Compromising Positions
Coordinators often find themselves in situations where they must choose between following protocol and addressing urgent student needs. For example, if a student faces expulsion due to administrative delays, the coordinator may have the knowledge and intent to intervene but lacks the formal authority. Choosing to act without approval could result in disciplinary action for the coordinator; choosing not to act may harm the student.

V. The Human Experience: A Voice in the Void
From personal experience, the frustration of operating within such a structure can be likened to screaming at the bottom of the ocean. Despite awareness, effort, and advocacy, the hierarchical nature of academia often renders mid-level voices unheard. Emails go unanswered, proposals remain unacknowledged, and pressing student issues are delayed due to red tape. The emotional toll includes burnout, feelings of powerlessness, and diminished morale.

VI. Discussion: Structural Incoherence and Its Impact
This structural incoherence not only affects coordinators but also undermines institutional integrity. Students, the primary stakeholders, suffer from delays and disjointed services. Staff members become disengaged, and the institution risks high turnover. Clear role definitions, proper delegation of authority, and adequate resource allocation are necessary to rectify these systemic problems.

VII. Recommendations for Institutional Reform

1. Clarify Job Descriptions: Ensure coordinators understand their scope of authority and responsibilities.

2. Provide Interim Authority: When a director is absent, grant temporary budgetary and decision-making authority to qualified coordinators.

3. Streamline Communication: Develop efficient channels for coordinators to communicate directly with executive leadership.

4. Offer Leadership Training: Equip coordinators with the tools and knowledge to navigate institutional challenges.

5. Foster Advocacy: Create a formal mechanism for coordinators to raise concerns and propose solutions.

Conclusion
University coordinators play a pivotal yet often underappreciated role in higher education. Their work becomes especially critical—and complicated—when direct leadership is absent. This paper has explored the duties of coordinators, the hypothetical outcomes of leadership gaps, and the ethical and operational challenges faced in such contexts. Institutional reforms are necessary to empower coordinators and ensure that the needs of students and staff are adequately met.

Abstract
Academic Support and Instructional Services are often misunderstood and undervalued components within higher education institutions. This article aims to demystify the scope of these services, articulate the complexities behind their operations, and address the harmful consequences of misperception and neglect. By analyzing their distinct functions and collaborative contributions, this paper underscores the critical role they play in fostering student success and institutional development.

Introduction: Beyond the Surface of Academic Support
Academic Support and Instructional Services (ASIS) are commonly perceived as limited in scope, often thought of simply as tutoring programs. However, such a view fails to grasp the depth and complexity of what these services actually entail. On the surface, academic support may appear to involve nothing more than students helping other students understand difficult course material. In reality, there is an intricate web of operations that supports this visible outcome. Behind the scenes, effective peer tutoring and supplemental instruction require structured policy development to ensure consistency and accessibility, refined processes for service delivery, robust data collection systems to track utilization and effectiveness, carefully formatted reporting mechanisms, and strategic efforts in grant writing to secure funding. The hiring and training of student staff alone is a sophisticated task, requiring the careful selection of individuals who possess not only academic aptitude but also interpersonal, pedagogical, and leadership skills.

Distinguishing Academic Support from Instructional Services
It is also important to distinguish between Academic Support and Instructional Services, as these are two separate yet interconnected entities. Academic Support primarily targets students through out-of-class interventions such as tutoring, academic coaching, supplemental instruction, and skill-building workshops. The goal is to enhance learning outcomes, provide individualized assistance, and increase student persistence and retention. Instructional Services, in contrast, focus on faculty and staff. These services offer professional development opportunities in areas such as pedagogy, curriculum design, assessment strategies, classroom technology, and instructional accessibility. Their aim is to improve the quality of teaching and thereby enhance the student learning experience. Though they serve different audiences, both arms of ASIS contribute to the broader goal of academic excellence. Their collaboration ensures that learning both inside and outside the classroom is aligned, evidence-based, and student-centered.

The Collaborative Impact on Campus Communities
The collaboration between Academic Support and Instructional Services manifests in several ways that strengthen the educational environment of a campus. For instance, course-embedded support models integrate academic support into classroom settings, allowing for direct assistance in high-challenge courses. Tutors and supplemental instruction leaders often work in alignment with faculty to ensure the consistency and relevance of their support. Additionally, academic support professionals provide instructors with feedback on common student struggles, allowing faculty to adjust their teaching accordingly. Workshops designed for both students and faculty cover essential topics such as study skills, test-taking strategies, inclusive teaching practices, and the use of educational technology. These collaborative initiatives help to build a more connected, holistic, and effective learning ecosystem across campus.

Consequences of Misunderstanding and Neglect
Unfortunately, the widespread ignorance surrounding the full scope of Academic Support and Instructional Services leads to significant institutional challenges. When these services are misunderstood as simplistic or non-essential, they often suffer from limited funding, insufficient staffing, and a lack of strategic prioritization. This neglect is particularly detrimental to at-risk populations, such as first-generation students or those from marginalized backgrounds, who benefit most from well-developed academic support structures. Moreover, this neglect weakens institutional efforts in areas such as retention, student satisfaction, and degree completion, thereby undermining overall academic quality and institutional performance.

Conclusion: Recognizing and Resourcing What Matters
Academic Support and Instructional Services play a foundational role in fulfilling the academic mission of colleges and universities. Their complexity, significance, and collaborative potential are often underestimated, leading to a lack of proper recognition and investment. By shedding light on the distinct roles of academic support and instructional development—and emphasizing the impact they have when working in tandem—institutions can better support the educational success of both their students and faculty. In doing so, they not only create a more equitable learning environment but also position themselves for long-term excellence in teaching, learning, and student achievement.

The text I studied is Exodus 3:1-10, which recounts the key moment when God appears to Moses in the burning bush and orders him to lead the Israelites out of slavery in Egypt. This chapter is significant in the Exodus story because it signals the beginning of Moses' position as the deliverer of God's people. The argument of this dissertation is that Exodus 3:1-10 reveals God's fidelity to His covenant vows and His determination to free His people from oppression. This paper contends that Exodus 3:1-10 exemplifies God's unwavering dedication to His covenant commitments and his steadfast purpose to free the Israelites from their slavery in Egypt. This important event in the Exodus account marks the beginning of Moses' pivotal position as God's deliverer, highlighting divine adherence to the covenant and divine action in human history to secure the fulfillment of His promises.

The scene is set in the desert, when Moses, a shepherd caring for his sheep, comes upon a startling sight: a bush burning yet unaffected by the flames. As he approaches, he hears a supernatural summons: "Moses, Moses!" This watershed moment signals the start of a discourse that will influence a country's future.
        God displays His presence to Moses, saying, "I am the God of your father, Abraham, Isaac, and Jacob." In this statement, God repeats His covenant with the patriarchs, citing a history of promise and divine faithfulness. The burning bush becomes a hallowed emblem, reflecting God's presence among His people's hardships and sufferings.

Exodus 3:1-10 is a crucial verse in the book of Exodus, expressing God's fidelity to His covenant vows and resolve to free the Israelites from captivity. This text, which portrays God and Moses' meeting at the burning bush, acts as the spark for the Exodus story, establishing the groundwork for Israel's redemption. To fully understand the relevance of this passage, one must first examine its historical and literary context, considering its location within ancient Near Eastern society as well as the larger story of the Hebrew Bible.

Exodus 3:1-10 exemplifies God's fidelity to His covenant vows and persistent determination to freeing His people from captivity. God establishes a transforming partnership with Moses via the mysterious experience at the burning bush, sparking the Exodus story and setting the groundwork for Israel's salvation.

Exodus 3:1-6, when read in context with the rest of the book of Exodus, has tremendous historical and literary value. To fully understand its significance, it is necessary to explore the historical and literary context in which this moment develops. The book of Exodus is a fundamental narrative in the Hebrew Bible, detailing significant events in Israelite history. Traditionally credited to Moses, the book is thought to have been written during the Israelites' desert wanderings or shortly after, most likely in the late second millennium BCE. This chronology sets the events of Exodus in the context of the ancient Near East, a region known for mighty empires and the growth of many cultures and religions.

Exodus begins with Jacob's descendants, who were eventually enslaved by Egypt's reigning Pharaoh. The severe conditions endured by the Israelites paved the way for their eventual freedom, a prominent motif that runs throughout the novel. Exodus describes the Israelites' miraculous rescue from slavery, their trek through the desert, and the formation of a covenant relationship with their God, Yahweh.

The book of Exodus is a cornerstone of Hebrew scripture, depicting the Israelites' deliverance from slavery in Egypt and subsequent trek to the Promised Land. While the exact period of writing is unknown, academics usually identify its roots in the late second millennium BCE, most likely during or shortly after the Israelites' desert journey. This chronology places the events of Exodus in the context of the ancient Near East, which was dominated by mighty civilizations like as Egypt, Mesopotamia, and Hittite Anatolia.

Exodus is typically recognized as the second book of the Pentateuch, which comprises the first five books of the Hebrew Bible, commonly known as the Torah. As such, it is an essential component of the larger narrative arc that runs from the creation of the universe in Genesis until Moses' death in Deuteronomy. Within this wider framework, Exodus connects the patriarchal tales of Genesis to the founding of the Israelite nation under Moses' leadership. Exodus' literary form includes narrative prose, legal rules, and religious thoughts. Exodus 3:1-6 is part of the book's narrative portion, and it tells the story of Moses' summons and commissioning from God. This section constitutes a watershed moment in the story, establishing Moses as the pivotal player in the emancipation of the Israelites.

In this historical context, the Israelites were a minority community facing the harsh reality of Egyptian persecution. The story of Exodus reflects the sociopolitical circumstances of the time, emphasizing themes of emancipation, divine intervention, and covenantal commitment. The experience at the burning bush, portrayed in Exodus 3:1-10, is a watershed moment in Israelite history, signaling the start of their path toward independence and nationhood.

Exodus is both a historical tale and a literary masterpiece, distinguished by its complicated narrative structure, profound symbolism, and religious profundity. The meeting at the burning bush represents a microcosm of the larger themes that run throughout the book, including God's sovereignty, the call of prophetic figures, and the notion of divine rescue. The story begins with Moses minding his father-in-law's sheep in the desert of Horeb, a bleak and lonely region that reflects the Israelites' plight of slavery. Within this liminal region, Moses witnesses the astonishing sight of a bush enveloped in flames yet not devoured by the fire. This supernatural phenomenon is a demonstration of God's presence, indicating His impending intervention in the affairs of His people.

As Moses approaches the burning bush, he is ordered to take off his sandals, symbolizing the purity of the ground on which he stands. This act of reverence emphasizes the severity of the situation and the sanctity of the heavenly encounter. God shows Himself to Moses as the God of his forefathers, calling on the memories of the patriarchs and creating continuity with Israel's past. Furthermore, God's remark, "I have surely seen the affliction of my people...and have heard their cry," demonstrates His loving care for the Israelites' predicament. This claim of divine empathy emphasizes the key concept of redemption that runs throughout the Exodus tale.

Interpreting Exodus 3:1-10 considering its historical and literary context raises various important concerns that must be answered. First, academics debate the book of Exodus' authorship and chronology, with some suggesting many beginnings and redactional layers. This textual critique obscures our understanding of the passage's origins and composition. Furthermore, theological implications of the burning bush experience have prompted scholarly research, with interpretations ranging from historical to metaphorical to legendary. Some historians believe the tale reflects Israel's collective memory and identity development, while others see it as a revelation of God's nature and purpose. Furthermore, Moses' image as a hesitant leader and mediator between God and the Israelites raises concerns about the nature of divine agency and human accountability. The conflict between obedience and resistance, faith and doubt, throughout the story, allows viewers to consider the intricacies of divine-human connections.

Exodus 3:1 lays the setting for one of biblical history's most momentous interactions, Moses' meeting with God at the burning bush. The text reads: "Now Moses was tending the flock of Jethro, his father-in-law, the priest of Midian." And he led the herd back through the desert to Horeb, the mountain of God." The location is essential! Moses is in Horeb, later recognized as Mount Sinai, the exact site where God would deliver Moses the Ten Commandments and establish His covenant with the Israelites. This geographical element heightens the significance of the encounter, implying that what happens is more than a coincidence, but a divine arrangement.

Moses, a former Egyptian prince and shepherd in Midian, is now minding the flock of his father-in-law, Jethro. This transition from king to shepherd represents Moses' humbleness, as he departed Egypt after slaying an Egyptian taskmaster. Moses meets God in this modest position, highlighting the theme of God's fondness for the meek and poor. The description of the flaming bush emphasizes the encounter's exceptional character. The bush, enveloped in flames but not burned, represents God's presence - a picture that encapsulates the dichotomy between God's holiness and mercy. The burning bush is a heavenly apparition that draws Moses' notice and initiates his mission to lead the Israelites out of Egypt.

Furthermore, the fact that Moses is at the "back of the desert" symbolizes a place of isolation and alone, the last place one would expect to encounter God. This emphasizes how God works in unexpected ways, often in the quiet times of our life, in the middle of our daily routines. In conclusion, Exodus 3:1 acts as a prelude to one of the most crucial events in biblical history. It prepares Moses for his meeting with God at the burning bush, highlighting themes of humility, divine sovereignty, and the unexpected character of God's revelation.

Exodus 3:2 describes a watershed point in the life of Moses, a prominent figure in the Old Testament, when he meets God via a burning bush while tending to his father-in-law Jethro's flock in the wilderness of Midian. This line foreshadows Moses' heavenly mission and position as the deliverer of the Israelites from Egyptian slavery. The verse reads: "And the angel of the Lord appeared unto him in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed." This encounter is significant on multiple levels.

(1) The Angel of the Lord: The appearance of the angel of the Lord indicates a divine presence. In several Old Testament passages, the angel of the Lord is interpreted as a manifestation of God Himself. As a result, this is not just any regular incident, but rather a supernatural experience. (2) The Burning Bush: The burning bush is a striking representation of God's presence. The bush is on fire yet not burned, symbolizing God's unfathomable and awe-inspiring nature. It represents God's holy, pure, and eternal essence. Fire symbolizes both God's cleansing presence and His might. (3) Moses responds to this astounding sight with wonder and awe. He turns aside to see the show, demonstrating his readiness to interact with the holy. This prepares the way for God to disclose His purpose to Moses and summon him to a tremendous mission. (4) The woods Setting: The fact that this meeting occurs in the woods is crucial. In biblical accounts, the desert is frequently used to test and prepare people. Individuals, including Moses, experience spiritual development and acknowledge their need on God. (5) Foreshadowing of Moses' Calling: This line anticipates Moses' divine summons to lead the Israelites out of Egypt. The burning bush foreshadows God's commissioning of Moses for this momentous job. It represents the start of Moses' journey from lowly shepherd to liberator of his people. In summary, Exodus 3:2 depicts a watershed point in biblical history when God reveals Himself to Moses in a deep and miraculous manner. Through the symbolism of the burning bush and the appearance of the Lord's angel, God summons Moses to a holy mission that would influence the path of Israeli history. This passage is a striking reminder of God's presence, righteousness, and faithfulness to accomplish His purposes via chosen persons.

In Exodus 3:3, it says, "So Moses thought, 'I will go over and see this strange sight—why the bush does not burn up.'" This line is part of the Old Testament tale about Moses encountering the burning bush on Mount Horeb, which marks a watershed point in his life and Israel's history. The burning bush is a potent metaphor in the biblical story. It depicts God's presence and is a heavenly revelation to Moses. The fact that the bush is burning yet not consumed piques Moses' interest and motivates him to examine more. This is the beginning of his meeting with God and his summons to lead the Israelites out of slavery in Egypt.

Moses' reply, "I will go over and see this strange sight," reveals his interest and maybe astonishment at the astounding scene in front of him. Despite his initial reservations and skepticism, he chooses to approach the bush, indicating his desire to connect with the divine and face the unknown. This passage also emphasizes Moses' inquisitive curiosity and willingness to explore unusual circumstances. Rather than ignoring or discounting the uncommon phenomena, he decides to research and gain a better understanding. This characteristic is critical in his job as a leader, as he continuously seeks advice and direction from God throughout the remainder of the Exodus story. Overall, Exodus 3:3 foreshadows one of the most crucial occurrences in the Bible, demonstrating Moses' desire to connect with the supernatural and his pivotal role in the emancipation of the Israelites. It urges readers to reflect on faith, obedience, and the strange ways in which God reveals Himself to humans.

Exodus 3:4-5 describes a watershed point in the biblical story: Moses experiences God via the burning bush. Verse 4 opens with Moses observing something extraordinary: a bush enveloped in flames but not devoured by the fire. This scene quickly catches his attention, causing him to come for a closer look. The burning bush is a potent emblem of divine presence and sanctity. Fire is frequently used in the Bible to indicate God's presence or cleansing, and it reflects the holiness of the moment as well as the divine character of what is about to happen.

As Moses approaches, verse 5 depicts God's reaction to his presence: "Do not come any closer," God advises. "Take off your sandals, for the place where you are standing is holy ground." This command is loaded with importance. First, it emphasizes the deference owed to God's presence. In many ancient societies, taking off one's shoes in front of anything precious or in a holy location was a symbol of reverence and humility. By commanding Moses to remove his sandals, God underscores the need of reverence and humility while addressing the divine. Second, the statement that the earth is holy emphasizes the holiness of the meeting. Not alone is the bush sacred, but so is the earth on which it grows. This emphasizes the concept that God's presence gives ordinary locations enormous importance. The divine presence elevates the banal to sacred status in this instant.

Third, this experience sets the stage for the subsequent discourse between God and Moses. By making the ground holy, God prepares the way for the reveal of His divine plan to liberate the Israelites from slavery in Egypt—a plan in which Moses would play a key part. Exodus 3:6-7 also recounts a pivotal moment in the life of Moses, where he encounters God in the burning bush on Mount Horeb.

"He said, 'I am the God of your father, the God of Abraham, the God of Isaac and the God of Jacob.' At this, Moses hid his face, because he was afraid to look at God. The Lord said, 'I have indeed seen the misery of my people in Egypt. I have heard them crying out because of their slave drivers, and I am concerned about their suffering.'" Moses opens verse 6 by covering his face, demonstrating his awe and recognition of the divine presence. Removing one's sandals was a common display of respect and humility in ancient Near Eastern societies, indicating that the earth was sacred. Moses follows this tradition when he stands before the burning bush, acknowledging the significance of the event. God then introduces himself as the God of Abraham, Isaac, and Jacob, stressing his covenantal connection with the Israelites via their forefathers. This validates God's authority and creates continuity with Israel's past, convincing Moses that his mission is divinely legitimate.

In verse 7, God expresses his knowledge of the Israelites' suffering in Egypt. He acknowledges their oppression and hears their cry for help. This reveals God's love and care for the predicament of his people, creating the groundwork for his intervention on their behalf. The phrase "land flowing with milk and honey" refers to the promised country of Canaan, emphasizing God's determination to fulfill his covenant with the Israelites by guiding them to a place of wealth and prosperity.

Exodus 3:8-9 in the New International Version (NIV) reads: "So I have come down to rescue them from the hand of the Egyptians and to bring them up out of that land into a good and spacious land, a land flowing with milk and honey—the home of the Canaanites, Hittites, Amorites, Perizzites, Hivites and Jebusites. And now the cry of the Israelites has reached me, and I have seen the way the Egyptians are oppressing them."

This verse happens after Moses encounters the burning bush on Mount Horeb, when God commands him to lead the Israelites out of Egypt. The words indicate God's plan to intervene in the predicament of the Israelites, who had endured Egyptian persecution for millennia.

The first section of the chapter highlights God's active participation in the circumstances of His people. God's statement, "So I have come down to rescue them," indicates His active engagement in freeing the Israelites from slavery. This expression emphasizes God's compassion and care for His people, implying that He is aware of their suffering and is personally acting to relieve them. Furthermore, the text portrays the Israelites' rescue location—a "good and spacious land, a land flowing with milk and honey." This description represents plenty, fertility, and prosperity, presenting the promised country as one of blessing and abundance. It also contrasts with the severe conditions of slavery in Egypt, emphasizing the transformational aspect of God's salvation.

In Exodus 3:10, God assigns Moses a critical job, signaling the start of Moses' journey as the leader of the Israelites' freedom from Egypt. The verse reads: "So now, go. I am sending you to Pharaoh to bring my people the Israelites out of Egypt." This single verse encompasses important theological ideas and insights about God's relationship with mankind, prophetic calling, and the concept of liberty. First, the word "So now, go" denotes a heavenly mandate. God's order is straightforward and authoritative, emphasizing the seriousness and urgency of Moses' duty. This emphasizes the notion of divine agency and humans' duty as tools in carrying out God's plan on earth. Second, the statement "I am sending you to Pharaoh" underscores the specificity of Moses' duty. He is not only assigned a broad assignment, but also a specific target: Pharaoh, the king of Egypt. This specificity emphasizes the divine purpose behind the Israelites' freedom and foreshadows the confrontation between Moses and Pharaoh, which would be key to the Exodus story.

Third, the phrase "to bring my people, the Israelites, out of Egypt" emphasizes the themes of liberty and redemption. God refers to the Israelites as "my people," emphasizing His covenantal relationship with them and dedication to their rescue from persecution. The act of taking them "out of Egypt" represents not only physical freedom from slavery, but also spiritual liberty and the fulfillment of God's promise to Abraham (Genesis 15:13-14). Furthermore, this verse is analogous to commissioning narratives found in the prophetic tradition, in which individuals are selected and equipped by God to serve a specific purpose. Moses' call to deliver the Israelites is consistent with the prophetic tradition of fighting for justice, opposing oppressive regimes, and bringing people back to their commitment to God's covenant.

Exodus 3:10 is a watershed point in the biblical story, when God orders Moses to lead the Israelites out of slavery in Egypt. Placing this verse in its greater canonical context reveals its theological relevance in both the Old and New Testaments, especially in Christian Scripture. In Exodus 3, Moses comes across the burning bush on Mount Horeb, where God exposes himself as the God of Abraham, Isaac, and Jacob (Exodus 3:6). This encounter symbolizes the start of Moses' divine commission, as God commands him to free the Israelites from Egypt. The scripture in question, Exodus 3:10, gives God's precise command to Moses: "So now, go. I am sending you to Pharaoh to bring my people the Israelites out of Egypt" (NIV).

This verse has a strong resonance within the Old Testament canon, since it mirrors God's covenant vows to Abraham (Genesis 12:1-3). Moses' call is similar to Abraham's, emphasizing God's loyalty to his covenant commitments and determination to liberate his people from injustice. Furthermore, it foreshadows the concept of freedom and redemption that runs throughout the biblical story, culminating in the final emancipation through Jesus Christ.

Exodus 3:10 is extremely important in Christian theology because it foreshadows Jesus Christ's mission. Just as Moses was commissioned to rescue the Israelites from slavery, Jesus is viewed as the ultimate liberator who frees humanity from the bonds of sin and death (Luke 4:18–19). The connections between Moses and Jesus are clear: both are chosen by God to lead their people to freedom and redemption. Furthermore, Exodus 3:10 emphasizes the theological concept of divine empowerment. Despite Moses' initial reservations and misgivings (Exodus 3:11), God assures him of his presence and vows to accompany him (Exodus 3:12). This concept of supernatural empowerment appears throughout Scripture, as God frequently picks improbable persons to carry out his intentions, equipping them with his Spirit.

Exodus 3:10 confirms God's sovereignty and faithfulness. It serves as a reminder that God is actively involved in human history, carrying out his redeeming intentions through certain instruments. Furthermore, it emphasizes the value of obedience and steadfastness in answering to God's call, as seen by Moses' eventual acceptance of his commission, and leading the Israelites out of Egypt.

Finally, Exodus 3:10 is an important passage in the biblical canon, both in terms of its Old Testament setting and its theological implications for Christian Scripture. It serves as a basic text, emphasizing God's covenant faithfulness, dedication to freedom, and the theological ideas of divine empowerment and obedience. As a result, it continues to inspire and encourage believers to obey God's call and participate in his redeeming mission in the world.

Reference:

Coogan, Michael D. The Old Testament: A Historical and Literary Introduction to the Hebrew Scriptures. Oxford University Press, 2017.

Childs, Brevard S. The Book of Exodus: A Critical, Theological Commentary. Westminster John Knox Press, 2004.

Hamilton, Victor P. Exodus: An Exegetical Commentary. Baker Academic, 2011.

Van Seters, John. The Pentateuch: A Social-Science Commentary. Continuum, 2004.

Friedman, Richard Elliott. Commentary on the Torah. HarperOne, 2003.

The Holy Bible: New International Version. (1984). Hodder & Stoughton.

Achtemeier, Paul J., HarperCollins Bible Dictionary. 3rd ed., HarperOne, 2011.

Childs, Brevard S., Introduction to the Old Testament as Scripture. Fortress Press, 1979.

Goldingay, John, Old Testament Theology: Israel's Gospel. Vol. 1, InterVarsity Press, 2003.

Green, Joel B., Dictionary of Jesus and the Gospels. 2nd ed., InterVarsity Press, 2013.

Although we can preach and teach the gospel verbally in listening sessions, there might just be at least one individual within that congregation that needs a little more support to understand the message. No this is not because they may not be paying attention deliberately, but possibly because of their attention span. Due to their lake of attention to the word sometimes the end up not believing in the gospel of Jesus Christ. As an educator I if common for those with short attention spans to have an inventive mind and are always in need of creative support to keep them not only engaged but to also deliver the message across to them. I believe that the music ministry within the church heavily supports my theory and can assist in reaching not only those who are in the church but also those who are outside of the church (non-believers). I am a living testimony of when the gospel through music it can reach those who are outside of the church and assist in retaining those who are currently in.

Understanding what the gospel is played a significant role in my faith and the ministry of my home church back in the Bahamas. When I hear the term gospel I think of salvation, knowing that Christ came, taught us, and gave us instruction on how to live a righteous life so that through Him we shall all live eternally in heaven with Him and Our Father! When I hear the term gospel, I think of it as my redeeming quality because had it not been evangelized to me through music I always as my self would I have had better understanding of the gospel and would I have made my way to the church? I believe that evangelism through music also encourages those who may know of God but chose not to live a life that is please that is pleasing to him to then start to live as He would want us to due to the encouragement from the gospel that delivered to them through music. Within the paper I will also show how music is a tool that can be used not only to rejoice but also to share the gospel.

The theology of evangelizing the gospel started from Jesus’ great commission found in the New Testament. In the book of Matthew 28:19 - 20 Jesus gave his disciples instructions telling them “go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, and teaching them to obey everything that I have commanded you. And remember, I am with you always, to the end of the age.” This verse is seen as the foundation of evangelism. In chapter six of The Master Plan of Evangelism, Rober E Coleman talks about how Jesus gave each of his disciple’s responsibilities. Coleman stated: “He was always building His ministry for the time when His disciples would have to take over His work.”[1] This supports the start of evangelism with Jesus first teaching his disciples then sending them off to spread the gospel.

Evangelizing the gospel through music also comes with know and understanding what evangelism is. Jackson gives a great understanding of this in Offering Christ: John Wesley’s Evangelist Vision. Jackson’s focus is not solely on proclaiming the gospel but also nurturing and spreading it throughout all corners of the community bring other closer to Christ and participation in the church.[2] Through this we can help others transform not only their hearts but also their lives through a personal relationship with Christ. How others may approach a personal relationship with Christ may not work for other as I do believe that a personal relationship should be unique. Therefore, there should be multiple approaches to evangelism, and songs and poetry are not excluded. Jackson stated in chapter seven page 160 that “Wesley’s holistic approach to evangelism included addressing the physical and social needs of individuals, not just their spiritual needs.”[3] This stood out to me because I believe that social needs also play a huge role in spiritual development. Addressing social needs can also assist with evangelizing the gospel if the social conditions of the non-believers aren’t good. An example of a good social condition would be a gospel concert or a service where only songs are sung like Bishop Carlton Pearson used to have.

In chapter one page five of Announcing the Reign of God: Evangelization and the Subversive Memory of Jesus, Arias defined the term evangelic work as brining the message of Jesus to the people.[4] In chapter seven page one hundred forty-five, Aris stated: “Evangelization is a communal activity that involves the entire faith community. It is not an individualistic endeavor but a collective witness to the transformative power of the Gospel.”[5] This statement stood out to because as you will see later in this paper I will touch a few aspects on evangelism through music on a communal basis. Community plays a vital role in evangelism. Messages can be shared in some many ways just as it was in the bible. A great reference of this would be the Book of Psalms. Chapters like Psalms 1,100 and 119 are notable examples of songs that cover a wide range of themes and could share a message to someone in a unique way that catches their attention. Psalms 96 encourage us to sing onto the Lord and to evangelize his glory to all the nations. Verse 1-5 reads “O sing to the Lord a new song; sing to the Lord, all the earth. Sing to the Lord, bless his name; tell of his salvation from day to day. Declare his glory among the nations, his marvelous works among all the peoples. For great is the Lord, and greatly to be praised; he is to be revered above all gods. For all the gods of the peoples are idols, but the Lord made the heavens.” Another good example of a Psalms that is a song is Psalm 18:1 – 13: “I love you, Lord, my strength. The Lord is my rock, my fortress, and my deliverer; my God is my rock, in whom I take refuge, my shield and the horn of my salvation, my stronghold. I called to the Lord, who is worthy of praise, and I have been saved from my enemies.”

I have widely observed this within the Caribbean church culture and the African church culture through community praise and worship concerts in public squares. Chapter five of Music in the Life of the African Church pages eighty-five through eighty-seven gives us look on how evangelic music in Africa always includes hymns, gospel songs, and contemporary Christian music that are performed not only at church services but also other evangelical gatherings (community praise and worship concerts in public squares / social needs) and how the themes of those songs focus on repentance, salvation, faith and Christian living through Jesus Christ which is the theme of the Gospel. Roberta King stated that: “In the African church, music serves as a powerful tool for evangelism, blending traditional hymns with vibrant gospel songs and contemporary Christian music to reach a wide audience”[6] Upon reading this I smiled because the thought that came to mind was the inclusion of modern musical styles that might attract a non-believer. No I am not suggesting anything secular but something that is more accommodating of everyone. This would also help the church to stay relevant to all while staying true to its doctrine. Vibrant gospel songs with upbeat rhythms and strong emotional expressions might just be the key to attract non-believers when evangelizing through music. King also stated that: “The themes of evangelical music in Africa repentance, salvation, faith, and Christian living through Jesus Christ are consistent reflections of the Gospel’s core message”[7] This argument stood out to me because it speaks volume to the thought that evangelizing through music can provide guidance on how to live a Christian life on a day to day bases.

Evangelizing through music are supported by many biblical scriptures. One verse that come to mind when thinking about this is Colossians 3:16 “Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual sings, with thankfulness in your hearts to God.” This verse expresses the role that music plays in teaching the Gospel. Another verse which is a well-known verse and one of my favorites is Acts 16:25-34. While Paul and Silas were imprisoned, they sang hymns and prayed to God. An earthquake shook the earth and the prison doors opened. The guard thought that all the prisoners had escaped but Pual reassured him not to worry because everyone were all accounted for. The guard then knelt by Paul and Silas and asked how he could be saved. Paul and Silas’s are a great testimony of how the gospel can be shared through songs and poetry. The last verse I would like to reference is 2 Chronicles 20:21-22 “And when he had taken counsel with the people, he appointed those who were to sing to the Lord and praise him in holy attire, as they went before the army, and say, Give thanks to the Lord, for his steadfast love endures forever.' And when they began to sing and praise, the Lord set an ambush against the men of Ammon, Moab, and Mount Seir, who had come against Judah, so that they were routed.” This verse tells us that singing praises to God does not just encourage people but also have an impact on their enemies showing that music can also be use in spiritual battle. It also shows the acknowledgment of God’s sovereignty and his steadfast love,

In chapter three pages one hundred forty-four through one hundred forty-six of Tyndale New Testament Commentaries: Colossians & Philemon by N.T. Wright” discusses how important the word of Christ dwelling richly among believers. I. Howard Marshall writes” The teaching and admonishing that the Colossians are to practice is done through the medium of psalms, hymns, and spiritual songs. This points to the early Christian use of music not merely as a form of worship but as a means of communal instruction and encouragement. The word of Christ thus dwells richly among them as they sing to one another.”[8] This emphasizes music as a medium for the sharing of the gospel and theological truths helping in not only spiritual formation but also evangelical outreach. In chapter sixteen pages two hundred seventy-nine through two hundred eighty-one I. Howard Marshall comments on the story of Paul and Silas stating: “The singing of hymns by Paul and Silas, despite their imprisonment, serves as a powerful testimony to their faith. It is no surprise that such an act of worship amidst suffering would capture the attention of the other prisoners and lead to the conversion of the jailer. Their hymns proclaimed the gospel in a compelling way that mere words might not.”[9] This shows us how singing hymns becomes a way we can evangelize to non-believers and demonstrates the power of music to spread the gospel.

Historically songs have been used to evangelize throughout, and one religious group that stood out to me while conducting my research were the Lutherans. In the book titled Singing the Gospel Lutheran Hymns and the Success of the Reformation, Brown states in chapter two that “Luther’s hymns taught the core of his theology in a memorable form, making complex doctrines understandable to ordinary Christians.”[10] This statement stresses that hymns are a great but also important way for spreading the message. They are used to reinforce doctrine among the church community and the way in which these hymns are constructed. They are accessible to not only to the church community but also everybody else.

In Theology, Music, and Time, Jeremy S. Begbie argues the crisscrossing and correlation of theology and music, stressing how music serves as a medium for theological reflection and evangelism. Part of his argument argues the music has the capacity to relay theological truths in ways words cannot. On page five Begbie argues: “Music can articulate dimensions of human experience and theological insight that are often inaccessible to purely verbal discourse.”[11] I look at his argument point as a suggestion that music has the power to express experiences and theological concepts. I also see it as music can evoke deep feelings and emotions with results in responses. He also followed this statement up on page eight by say “Through its patterns of tension and resolution, music can mirror the narrative of redemption and resonate deeply with the human soul.”[12] I believe that Begbie was implying that music has the ability to resonate emotionally with people through the theme of struggle and victory. Chapter seven evangelism through music specifically addresses music, arguing that it emotional and aesthetic appeal can open hearts to the gospel message. On page one hundred seventy-eight, Begbie stated “Music can reach parts of the human person that might remain untouched by purely rational argument, providing an entry point for the gospel.”[13] This statement supports the idea that evangelism through music can reach non-believers. Later on page one hundred eighty three he also stated “Incorporating music into evangelistic efforts can help convey the beauty and coherence of the Christian faith in a way that resonates deeply with contemporary culture.”[14] I see this as a way to help non-believer or those with an inventive mind see the Christian faith in a way that’s unique to them. Those two statement shows that Begbie too also believes that music can also be used as a means of evangelism for non-believers in the same fashion as it is used for theological engagement. In his closing arguments in chapter nine, Begbie stresses that music plays a significant role in theological reflection and evangelism. The writer Day also writes about music playing a role in theological reflection stating, “Good liturgical music is not just about aesthetics; it is a reflection of the church’s theological depth and its commitment to evangelization.”[15]

When focusing on the theological aspect or community and worship, its simply hard to not think of music. Chapter three of Worship, Community, and the Triune God of Grace by James B. Torrance speaks about the communal part of worship and how music creates a sense of unity. It’s not just a form of expression but it brings people together (believers and non-believers). Torrance stated: “Music in worship serves to unite the congregation in a shared expression of faith, fostering a sense of community that reflects the unity of the Trinity.”[16] Hymns and gospel music evangelically has the power to bring non-believes closer to Christe due to their rich theological lyrics. Torrance then spoke about the evangelical potential of worship through music in chapter seven. One of the main things that stood out to me was when he stated: “Through music, we can communicate the beauty and truth of the gospel in a way that transcends cultural and linguistic barriers, making it an essential component of evangelistic worship.”[17] I see this as a unique way one can receive the gospel which is needed to engage non-believers. This argument also shows that music can convey the core truths of the gospel. Evangelistic worship can create a more inclusive experience which may draw the attention of non-believers or those who find it hard to focus when they are in church.  

While we can share the gospel verbally during listening sessions there may be those in the community who need extra help to understand its message. As I have stated before this is not always the result of deliberate lack of focus, but it can also be caused by shorter attention spans. I've seen that people with short attention spans frequently have creative brains and benefit from innovative techniques to keep them interested and ensure the information resonates with them. I feel that the music ministry inside the church strongly supports this point of view since it has the potential to reach not just members of the church but also non-believers outside of it. On my own I am a testimony to how the gospel evangelized via music can spread outside the church, contributing in both drawing new Christians and retaining current ones. Knowing and understanding the gospel plays a significant role and evangelizing it and using it as a tool to attract non-believers to the church and to help them believe. Evangelizing through music are supported by many biblical scriptures. Franklin Folks write “Addressing one another in psalms and hymns and spiritual songs suggests that the corporate worship and mutual edification of the Christian community are closely linked. Such musical expressions not only build up the believers but also bear witness to the surrounding world of the joy and transformation found in the gospel.”[18] Folks point out the role of music evangelism and with the context of Ephesians 5:19 – 20. “As you sing psalms and hymns and spiritual songs among yourselves, singing and making melody to the Lord in your hearts, giving thanks to God the Father at all times and for everything in the name of our Lord Jesus Christ.”

Knowing the gospel has had an enormous impact on my faith. When I hear the phrase gospel, I can’t help but to think of salvation knowing that Christ came to teach and advise us on how to live a moral life so that we might all live eternally in paradise with Him and Our Father! When I hear the phrase gospel I think of it as my redeeming characteristic, because if it hadn't been evangelized to me through music, would I have had a deeper grasp of the gospel and gone to church? I feel that evangelism via music encourages those who may know about God but choose not to live a life that is attractive to him in order to begin to live as He would like us to due to the encouragement of the gospel communicated to them through music. To God be all the glory for the great this that he has done.

Work Cited

·        Jackson, Jack. Offering Christ: John Wesley’s Evangelistic Vision. Nashville, Tennessee: Kingswood Books, 2017. Accessed June 25, 2024. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1340236.

·        Arias, Mortimer. Announcing the Reign of God: Evangelization and the Subversive Memory of Jesus. Eugene, Ore.: Wipf and Stock Publishers, 2001.

·        King, Roberta Rose, Jean Ngoya Kidula, James R. Krabill, and Thomas Oduro. Music in the Life of the African Church. Waco, Tex.: Baylor University Press, 2008. Accessed June 25, 2024. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=220525.

·        Tyndale New Testament Commentaries: Acts. Grand Rapids, MI: Eerdmans, 1984.

·        Brown, Christopher Boyd. Singing the Gospel: Lutheran Hymns and the Success of the Reformation. Cambridge, MA: Harvard University Press, 2005. Accessed June 25, 2024. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=282216.

·        Begbie, Jeremy. Theology, Music, and Time. Cambridge: Cambridge University Press, 2000. Accessed June 25, 2024. https://doi.org/10.1017/CBO9780511840142.

·        Torrance, James. Worship, Community & the Triune God of Grace. Downers Grove, Ill.: InterVarsity Press, 1996.

·        Day, Thomas. Why Catholics Can’t Sing: The Culture of Catholicism and the Triumph of Bad Taste. New York: Crossroad, 2000.

·        Coleman, Robert E., and Billy Graham. The Master Plan of Evangelism. Grand Rapids, Michigan: Revell, 1993. Accessed June 25, 2024. http://public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=3117439.

[1] Coleman, Robert E., and Billy Graham. 1993. The Master Plan of Evangelism. Grand Rapids, Michigan: Revell.

[2]Jackson, Jack. 2017. Offering Christ: John Wesley’s Evangelistic Vision. Nashville, Tennessee: Kingswood Books

[3] Jackson, Jack. 2017. Offering Christ: John Wesley’s Evangelistic Vision. Nashville, Tennessee: Kingswood Books

[4] Arias, Mortimer. 2001. Announcing the Reign of God: Evangelization and the Subversive Memory of Jesus. Eugene, Ore.: Wipf and Stock Publishers.

[5] Arias, Mortimer. 2001. Announcing the Reign of God: Evangelization and the Subversive Memory of Jesus. Eugene, Ore.: Wipf and Stock Publishers.

[6] King, Roberta Rose, Jean Ngoya Kidula, James R. Krabill, and Thomas Oduro. 2008. Music in the Life of the African Church. Waco, Tex.: Baylor University Press.

[7] King, Roberta Rose, Jean Ngoya Kidula, James R. Krabill, and Thomas Oduro. 2008. Music in the Life of the African Church. Waco, Tex.: Baylor University Press.

[8] Tyndale New Testament Commentaries: Acts. 1984. Grand Rapids, MI: Eerdmans.

[9] Tyndale New Testament Commentaries: Acts. 1984. Grand Rapids, MI: Eerdmans.

[10] Brown, Christopher Boyd. 2005. Singing the Gospel: Lutheran Hymns and the Success of the Reformation. Cambridge, MA: Harvard University Press.

[11] Begbie, Jeremy. 2000. Theology, Music, and Time. Cambridge: Cambridge University Press.

[12] Begbie, Jeremy. 2000. Theology, Music, and Time. Cambridge: Cambridge University Press.

[13] Begbie, Jeremy. 2000. Theology, Music, and Time. Cambridge: Cambridge University Press.

[14] Begbie, Jeremy. 2000. Theology, Music, and Time. Cambridge: Cambridge University Press.

[15] Day, Thomas. Why Catholics Can’t Sing: The Culture of Catholicism and the Triumph of Bad Taste. New York: Crossroad, 2000.

[16] Torrance, James. 1996. Worship, Community & the Triune God of Grace. Downers Grove, Ill.: InterVarsity Press.

[17] Torrance, James. 1996. Worship, Community & the Triune God of Grace. Downers Grove, Ill.: InterVarsity Press.

[18] Tyndale New Testament Commentaries: Acts. 1984. Grand Rapids, MI: Eerdmans.