Sentences with phrase «house churches often»

House churches often accuse the institutional churches of equating church with a building.

Not exact matches

I thank my Mormon neighbor fairly often still when I think of all the repairs and clean up their work crews did in my yard and in my house (and around practically every neighborhood on the gulf coast) with no obligation to join or even attend their church.

In general, house churches consist of 12 to 15 people who share what's going on in their lives, often turning to Scriptures for guidance.

So also, the concept of the man as the head of the household carried over into the idea that the pastor was the head of the church, especially since early churches often met in houses.

Instead of fleeing at once, he gives an address (as the church often does), and he adds on his own invention: «You shall strike down the house of Ahab....

Consider the first - person plurals of the Lord's Prayer («Our Father...»), Jesus's prayers before meals, his blessing of children, the audible prayers both in the Temple and in synagogues (often called «prayer houses»), the stories of national prayer in the Old Testament, and the communal prayers of the early Christian churches recorded in the book of Acts and the letters of Paul.

Growing up, my father's job meant we moved cities, and thus churches, often — before graduating from college, I had lived in nine houses.

Its church hierarchies are often housed in organizations such as Focus on the Family and independent congregations instead of in denominations, and their relationship with government is more subtle and more private then that of mainline denominations.

I am glad the church is not so close to the Great House as often happens in old places.

Long - term housing for homeless women and their children is also a critical need, one often ignored by churches» outreach missions because the homeless men on the streets of downtown areas are more visible.

Church buildings are often called «meeting houses».

All too often these issues are handled «in house» in a church - centered attempt to avoid public scrutiny and to bring the matter to a close as quickly as possible so that the church can return to more «productive Gospel work».

The issue often professed to be at the heart of this critical struggle is whether the Church is obligated to subject itself to the laws of man when it believes that it is capable to address the sin in - house.

Yesterday I hinted that I have seen signs of the megachurch model (let's call it «attractional» for this post, because lots of churches use the model, but are not yet mega) being able to adopt some of the simple, organic, humble, service - oriented values that are often found in the house - church model.

Far too many churches prefer to handle conflict and even abuse «in house,» often glossing over the suffering of the victims in an effort to jump ahead to forgiveness and reconciliation without holding abusers / bullies accountable for their actions.

It was a question posed often on a recent evening spent at Holyrood Episcopal Church by elected officials and community members who gathered to mark the six - month anniversary of the day undocumented mother Amanda Morales - Guerra sought refuge with her children at the house of worship.

Orians and Heerwagen found that two thirds of the paintings included a refuge clearly accessible to the viewer — a church or a house, often with a light in the window.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenChurch State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenchurch pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

These communities are often located in houses of worship, such as Saint Peters Church and the Metro Baptist Church

Jelly salads and church suppers were often the order of the day for most women in «Perfection Salad,» and covered extensively in the text, and those interested in the academics of keeping house worked long and hard to have the topic acknowledged, officially, and approved for teaching, especially in the education system.