A Critical Profile of Choan-Seng Song's Theology MICHAEL S. MOORE No serious student of mission can afford to ignore C. S. Song's work, says Pastor Michael S. Moore, who recognizes that theology no longer monopolized by Western voices. Here he delves into this provocative Asian theologian's thoughts — and the criticism they engender. Though Song's clear, strong voice is singing an old melody in a new key, his overarching concern is Asia's need for a biblical religion. W'HOAN-SENG SONG is busily engaged in doing the near impossible. He is making theologians (especially missiological-theologians) rethink some very basic concepts about God, Christ, the church, creation, redemption, incarnation and liberation. Song's voice might perhaps be metaphorically described as a strong coloratura soprano in a lively chorus of Asian, African and Latin American voices — poetic, expressive, sometimes ethereal, sometimes ear splittingly penetrating, usually in the upper registers, seldom in the lower, able to harmonize with other voices, yet able to sing the melody line by himself. His is a voice raising new questions, singing new songs, challenging old interpretations of traditional scores, recreating new ones. To date his most representative work can be found in two volumes, both published by Orbis Books, New York: Christian Mission in Reconstruction: An Asian Analysis (1977) and Third-Eye Presently the minister of Allentown Church of Christ, Whitehall, PA, as well as a Th.M. student at Princeton Theological Seminary, Michael S. Moore earned his M.Div. from Eastern Baptist Theological Seminary, Philadelphia, and has done summer internship in Brazil. Missiology: An International Review, Vol. X, No. 4, October, 1982