Humans have the oddest relationship to conformity – it’s part sleepwalking ambivalence and part cognitive dissonant reaction. There’s a baseline anthropology driving our default psychology in regards to conformity, like an elastic band keeping us from straying too far, before it snaps us back into line . . . until like a toddler we begin to wobbly wander off in another direction. But by and large, most people follow socially normative expectations with agreeable compliance.
Ironically, many assume that the popular counter-cultural persona they carefully maintain, based on what is currently counter-culturally acceptable, somehow places them outside of conformity . . . and I just don’t have the heart to break it to them that it really doesn’t matter how much ink, metal bits, or smarmy aloof posturing – they’re still conforming . . . as I’m pretty sure the irony of this is completely lost on them.
Then there are those odd birds, who are simply contrarian – imagining that this qualifies as defying conformity . . . not realizing that all of their contrary choices are entirely predicated on their reaction to social norms – which of course means they’re still tethered to the cultural script, dancing to the same tune . . . albeit, with a measure of contempt for having to play along.
But with the artistically inclined, there usually isn’t so much a deliberate reaction or response to conformity, as such. For the creative mind, the social norms, which for most people, end up being either followed or challenged – are mostly ignored. Not really as a conscious defiance, but mostly out of a lack of sensitivity to the social queues. It’s because they’re preoccupied, listening for a different call, following a different path –which ends up taking up all of their attention. As an artist, I’m well acquainted with this blithe state of altered focus . . . and it is not easily explained.
The operative dynamic here is one of perception. The common perception detects the most conspicuous patterns of mannerism and behavior, language and value, apparent in the culture. But for the artist, with a different drummer in his head, he perceives many layers of a pattern at work – the places where harmony and dissonance are vibrating beneath the surface of the culture . . . to see the beauty and the brokenness that often hides in the details of how life is lived.
In Romans 12:1-2 we are admonished to worship God by sacrificing the life we have, and this can only occur as God transforms us, renewing the way we perceive the world, letting go of the common patterns of conformity so that we might recognize the deeper patterns of God’s will at work in the world. Then in Romans 8: 28-29 we discover that we are being conformed to the image of Christ, which is the very transformation in chapter 12 at work, allowing us to perceive all of the circumstances of our life as working for the good . . . regardless of the world’s perception of our circumstance.
I guess you could say that Jesus is the different drummer in our head, creating a different cadence that we might walk in by faith, allowing a different melody to be sung – a song of hope, a song we can sing everywhere we go . . . to everyone we meet. Can you hear that? That’s Jesus calling you to live in the power of his life – by seeing the world in a whole new way!
. . . and here’s the song I wrote to prove it.
This is an updated edition of a post originally published on Still Chasing Light