Pastor Monica Ross is a woman of God who believes in the power of prayer. She has been involved in various ministries, including a church outreach program called “Prayer Riders”. She also conducts marriage counseling services in her home and at her church. Pastor Ross is married to Pastor Kevin Ross; they have three children together: Kelsy (who is married to Jerome), Timothy, and Jonathan.
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Pastor Monica Ross And Family Praise And Worship
Pastor Monica Ross and her family did a praise and worship service on Sunday. The meeting is an encouragement to the believers and an opening for those who are far from God’s way. You will be blessed as you listen to their great songs. Talk to you later!
Pastor Monica Ross is a rising house of worship minister in Chicago, IL. She expertly plays with the extremes of praise and worship to capture people’s attention and magnify God’s presence. [image link] Monica Ross is a worship leader at Olivet Institutional Baptist Church, where she leads the congregation in singing praises to God through the spirit of praise and worship song. She has performed before thousands of people across the United States and Africa, leading them into spiritual ecstasy. Through her anointed lyrics, words, melodies and music, her songs minister particularly to those who have been deprived of direction, purpose and hope. As a gospel singer and composer, Pastor Monica Ross has over 35 years experience
Pastor Monica Ross and Family
Pastor Monica Ross, leader of the First Pentecostal Church in Augusta, Georgia, is a distinguished member of the local community. Over the past 14 years, Pastor Ross has been instrumental in establishing her church as a pillar of the community. Pastor Ross’ programs and initiatives have helped to provide resources and opportunities for members of the community who might otherwise not have access to these resources.
Numerous organizations from all over the state have recognized Pastor Ross’ efforts. She was awarded a Certificate of Outstanding Achievement from Governor Roy Barnes in recognition of her outstanding leadership and commitment to helping others achieve their goals.
In addition to her work with her church, Pastor Ross also serves on several boards and committees throughout Georgia. She has served on several task forces that focus on providing services for at-risk youth, senior citizens, and veterans; improving literacy rates; and supporting the arts. She has also served as vice chairman of both the United Way’s Community Action Committee (CAC) and its Women’s Leadership Council (WLC).
The Ross family is a ministry of God. Pastor Monica Ross has been preaching the word of God for over 20 years, and her husband, Pastor Larry Ross has been doing so for over 30 years. Together, they have five children: Andrew, Rachelle, Yvonne, Dorshay and Teretha.
They are a family that has dedicated their lives to spreading the word of God throughout the world. They believe in helping others through their music and words of encouragement. Their music can be found on YouTube or Spotify under “Pastor Monica Ross” or “Pastor Larry Ross”.
The song is well done, and I enjoyed it. It was really good, and I loved it! The song was great, and I loved it! The song was beautiful, and I loved it! The song was fantastic, and well done.
Pastor Monica Ross Bio
Monica Ross was an artist working with video, drawing, installation, text and performance who first came to prominence as a feminist artist and organiser. Ross was co-responsible for collective initiatives such as the seminal Women’s Postal Art Event (Feministo: Representations of the Artist as Housewife, ICA, London, 1977, Kunstlerinnen International 1877-1977, Schloss Charlottenberg, Berlin, 1977) and the touring project Fenix with Kate Walker and Sue Richardson. Both projects made visible the conditions and constraints of the working-class female artist with Fenix (1978–80) making studio practice public by appropriating galleries as workspaces.
In 1980, Fenix was included in the Issue exhibition curated by Lucy Lippard and Margaret Harrison (ICA, London) which marked the end of the project and saw Ross co-establish the Sister Seven group with the artists Shirley Cameron and Evelyn Silver and the poets Mary Michaels and Gillian Allnutt. Sister Seven operated nationally as a network for the distribution of poster art and performances, which took place in church halls, libraries, on the streets and at peace camps, including Greenham Common. Amidst the context of the Miner’s Strike, the Falklands War and the Thatcher Government, Ross made her first tape slide work Stop She said and continued to instigate collective work with women’s affinity groups, which led her to confront the immediacy of performance as medium.
Ross became treasurer of the Feminist Art News steering committee and, by 1985, Senior Lecturer on the Fine Art and Critical Studies BA at St.Martins School of Art. In the same year, Shirley Cameron, Evelyn Silver and Ross contributed Triple Transformations: Feminist Performance Art curated by Jill Morgan, to the programme of the Rochdale Art Gallery. With Gillian Allnutt, Ross began a series of performance works with Sea Change commissioned by Projects UK and the following year she performed Gold in the Furnace at London’s Chisenhale Art Gallery. In 1987, Gold in the Furnace was included in the influential State of the Nation exhibition at the Herbert Art Gallery in Coventry.
In 1990, she became Subject Leader of the Critical Fine Art Practice BA at Central Saint Martins and her practice began to respond to her readings of Walter Benjamin. She became concerned with issues of memory, time and the archaeology of the present. She responded to media representations of conflict by developing installations structured by the repetition of singular gestures. Her work This Is Not A Photograph responded to an image of HIV-positive Romanian babies and Neither Loaves Nor Fishes to the inability of aid workers to provide food for Kurdish refugees who were however able to access telephones.
Critical of Luke Rittner’s Glory of the Garden re-structuring of the Arts Council Ross reacted by considering expanded contexts for performance and its dissemination. She began making video and new media works in which she sought to ensure the body would re-enter the discourse. She showed video installations at Whitechapel Gallery in 1993 and Chapter Arts Centre in 1994. Her text work as a book valentine was published by Milch in 2001 as a treatise on four years of performances and included an expansive inventory contributed by others.
From 2001-2004, she was an AHRB Fellow in Fine Art at The University of Newcastle and Guest Professor at the Institut für Kunst in Kontext, Universität der Künste, Berlin, 2004. She produced video works reflective of her experience of working in these cities: Just For Now, Hatton Gallery, Newcastle, 2004; and Fallen Idyll: The End of a Perspective, 2003-2008, shown by Isis Arts at St. Michaels Mount, Byker, Newcastle, 2008; a meditation on social housing, documenting an experience of living in a council flat and its subsequent demolition.
In 2005, as a response to the shooting on July 22 of John Charles de Menezes at Stockwell Tube Station by the Metropolitan Police, Ross returned to the urgency of live performance. She presented the first version of what has become Anniversary—an act of memory, as rights repeated—an act of memory in the Chronic Epoch exhibition at Beaconsfield, London, 2005. A recitation of the Universal Declaration of Human Rights from memory, she has since performed Anniversary—an act of memory, solo and with co-recitors in several languages—at the request of others in sites including the British Library, Brighton Peace Messenger Festival, the House of Commons and on dates to coincide with other anniversaries, including International Women’s Day and the anniversary of the Peterloo Massacre at the Whitworth Art Gallery and Rylands Library in Manchester on August 15 and 16 2009.
Anniversary—an act of memory was performed at sixty venues in the UK and abroad and concluded with the final performance taking place at the Human Rights Council of United Nations in Geneva on 14 June 2013. Three of the last performances were conducted by Andrew Mitchelson as Monica Ross was too ill. She died in Brighton on the day that Act 60 took place in Geneva.
Praise And Worship
You’ve probably heard someone at church say, “We are going to have Praise and Worship.”
What once began as a simple catchphrase to attract people towards Christian music has morphed into vague Christian-ese. We’ve tossed the phrase around without stopping to consider the meaning behind the words. The unintended result is that music, one of God’s gifts to aid us in worshiping, has for many become an end in itself. The danger of overfamiliarity and of misusing biblical terms is that the purity of our praise and worship actually ends up diluted.
When I was a new Christian, having been raised Jewish, I was oblivious to the various Christian phrases being taught to me. All I knew was the experience I was having with God. As I began to grow spiritually, Christian lingo became a part of my Christian life ― somehow dulling the experiences I used to have. I had become numb in a way. No longer was praise and worship an experience with God; it was just another part of the “church” experience.
So, I decided to do some research on my own and get back to the basics. Here is what I discovered.
WHAT IS PRAISE?
Praise, in the original Greek, means to sing, to tell of, to give, or to confess.* In simpler terms, it means to be thankful for God’s blessings, and to declare that good news to God and to others. Here are some examples in Scripture:
Psalms 9:1-3, 18:2-3 and 28:2, & 6-7 describe how to praise God for what He has done for us.
Psalm 79:13 tells us to praise God by passing from generation to generation the knowledge of his goodness, grace, and mercy.
Hebrews 13:15 tells us that instead of using sacrifices towards God, we are to offer him praise and thanks. In other words, giving praise is a form of sacrifice.
1 Peter 1:7 explains that our faith naturally leads to our praise of God.
In Acts 16:25, we see Paul and Silas praising God and witnessing to other prisoners. It is also worthy to note that they were praising God under horrible circumstances in their lives.
Each of these Scriptures emphasize that praise is an outward expression, not just to God, but in order to tell others how good God is. This is the true foundation of praise. It doesn’t have to be directly correlated with music, and it has nothing to do with putting on a show. True praise comes from deep in the heart, and the outcome is that others see God working in us.
A wonderful example of this can be found in the song Mary proclaims while still carrying Jesus in her womb (Luke 1:46-55). Filled with his Spirit and fully aware of his greatness, Mary tells of how magnificent God is. She sings of how great he is, not only to her, but to all people of all nations.
WHAT IS WORSHIP?
Worship, in both the original Greek and Hebrew, convey the idea of: “to prostrate oneself, to bow down, to fall face down, to pay homage and to pay respect.”* In other words, worship is the highest form of honor and respect that we can show towards God. While worship can be done in public, its main directive is very different from praise. Worship is a direct conversation between you and God. It is highly intimate and personal. Here are some examples in Scripture:
Luke 17:15-16, 7:36-38 explain that by worshipping, we are putting God first in our lives. This coincides with what Jesus said in Matthew 22:35-40 when he quoted the greatest commandment from the Old Testament.
Isaiah 29:13 explains the difference between worshipping by human rules as opposed to worshipping from the heart.
John 4:23-24 tells us that all may worship God, and that we are to worship him in spirit and in truth.
Romans 1:25 explains how we can be deceived and worship the things God has created rather than worshipping him who is the Creator.
There is great importance to be placed on worship. The devil himself knew this, which is why he made it the final temptation for Jesus in the wilderness (Matthew 4:8-10). What we worship is who and what we will follow. Worship goes beyond words and feelings. It is the foundation for our true servanthood towards God. This is why worship is so intimate ― it defines our relationship with him. There is nothing on this earth, or in our lives, that is more important than our relationship with God.
An excellent example of this is found in John 12:3 when Mary, the sister of Lazarus, anoints the feet of Jesus with expensive perfume. Judas, who was later to betray Jesus for thirty pieces of silver, was quick to criticize her because he saw it as a waste of money. He claimed the money could instead have fed the poor and helped the unfortunate. Jesus saw that his statement held no true worship-value toward him, so he rebuked Judas. Whereas he defended Mary by saying she anointed him in preparation for His burial, thus showing her devotion. Basically, Jesus was teaching there is no higher value than worshiping God.
Praise and worship clearly go beyond something we do in church or at a concert.
It is not just a title to be assigned to describe an activity. Rather it is a complete way of life for one who follows Christ. Praise and worship are in fact to be the foundation on which we live our lives. Without both, we can’t possibly be effective at being the hands and feet of God. To accomplish this, worship of God and of him alone must be a first priority at all times. Through our worship of him and the intimacy that comes through such worship, praise for him will naturally flow from our actions and words. In doing this our lives will be a true reflection of Christ, from the inside out.