Abstract: Evangelical rap may sound like an oxymoron, but it was one of the most important trends in evangelical America as the Christian right rose to new levels of power in the 1990s. The trio DC Talk sold millions of album and dominated the Christian charts from the early 1990s and into the early 2000s. This was more than pure entertainment. Popular culture, and especially popular culture targeted at teens, is an important venue for disseminating values and sustaining religious identities. The artists promoted by the Christian music industry have to reflect the ideas and values that parents and central evangelical institutions wish to teach their children. In the 1990s, racial reconciliation was one of the most important issues to evangelical America and DC Talk were poster boys for a multiracial and multicultural America. Therefore this article takes DC Talk as a starting point to discuss evangelical engagement with race issues in the 1990s. DC Talk wrapped up evangelical individualism and color-blind conservatism in hip-hop garb, trying to reinvent a group with a checkered past when it comes to race relations as the hope of a racially harmonious America.
Gidal, Marc Meistrich Gidal. 2016. Catholic Music in Lusophone New Jersey: Circum-Atlantic Music, Intergroup Dynamics, and Immigrant Struggles in Transnational Communities. American Music 34(2): 180-217.
Excerpt: In this article I explain three main points about music, religion, group dynamics, and transnationalism in this setting. First, the Roman Catholic parishes that serve Portuguese and Brazilians in Newark foster heterogeneous communities shaped by circum-Atlantic movements of people, religious trends, media, and music. Hence, the diverse backgrounds, customs, and tastes of the clergy and parishioners have influenced the musical activities in the parishes with regard to repertories of music, styles of performance, attitudes toward participation, and processes of dissemination. Second, music in worship services can accentuate or mitigate nationalist rivalries and other distinctions among lusophone people in the United States. This musical perspective contributes to social- scientific findings that although relations are tense between Portuguese and Brazilians, and among Brazilians, in Newark and elsewhere, churches provide unique centers for solidarity, social aid, and community building for lusophone immigrants. Third, parish leaders use music, sermons, and special events to support the personal struggles of parishioners, particularly immigrants who face limited opportunities for work and governmental actions against undocumented residents.
Abstract: This paper explores specific musical and cultural attributes that make indigenous Tanzanian music traditions effective in church worship in Dar es Salaam, the foremost metropolis in this East African nation. Based in empirical evidence, it argues that the power of indigenous Tanzanian music traditions, in heightening the religious experience of believers, is inherent in musical attributes – melody, harmony, and rhythms – as well as cultural aesthetics that facilitate the believers’ identification with such local music. Specifically, the article shows how the power of indigenous Tanzanian music to arouse deep and demonstrable emotions among church members is attributable to the characteristics of traditional music and its cultural usage. Indeed, as the article affirms, the strength of these culturally-rich indigenous Tanzanian music traditions can be traced to their African origins and the traditional attributes and aesthetics that make them deeply religious and powerful in generating emotions.
Publisher’s description: Upward, Not Sunwise explores an influential and growing neo-Pentecostal movement among Native Americans characterized by evangelical Christian theology, charismatic “spirit-filled” worship, and decentralized Native control. As in other global contexts, neo-Pentecostalism is spread by charismatic evangelists practicing faith healing at tent revivals.In North America, this movement has become especially popular among the Diné (Navajo), where the Oodlání (“Believers”) movement now numbers nearly sixty thousand members. Participants in this movement value their Navajo cultural identity yet maintain a profound religious conviction that the beliefs of their ancestors are tools of the devil.
Kimberly Jenkins Marshall has been researching the Oodlání movement since 2006 and presents the first book-length study of Navajo neo-Pentecostalism. Key to the popularity of this movement is what the author calls “resonant rupture,” or the way the apparent continuity of expressive forms holds appeal for Navajos, while believers simultaneously deny the continuity of these forms at the level of meaning. Although the music, dance, and poetic language at Oodlání tent revivals is identifiably Navajo, Oodlání carefully re-inscribe their country gospel music, dancing in the spirit, use of the Navajo language, and materials of faith healing as transformationally new and different. Marshall explores these and other nuances of Navajo neo-Pentecostal practices by examining how Oodlání perform their faith under the big white tents scattered across the Navajo Nation.
Abstract: Drawing on interviews with creators of Christian hip hop music in South Africa, this article demonstrates that this genre of popular music and youth culture is utilised as a form of pedagogy to transmit religious beliefs and values to contemporary youth. The pedagogical aspects of hip hop have been recognised in research on the topic, but the religious pedagogical uses of hip hop have been under-analysed within the social sciences. After outlining the global development of hip hop as a pedagogical practice, this article will demonstrate that, under the influence of North American Evangelicalism, South African Christian hip hop attempts to promote Evangelical orthodoxy and orthopraxy in response to the secular and religious practices of South African youth.
Abstract: In January 2011, Egyptian protestors arrived to Tahrir Square wearing stickers reading ‘a martyr is available here’ to highlight their willingness to die for the revolution. Many Coptic Christians also arrived to their own demonstrations wearing the same sticker. Drawing on a biblical verse ‘For to me, to live is Christ and to die is gain’, they claimed they came ready to die, not only for their nation, but also for their faith. In this article, I examine martyr themes in a popular and Coptic religious song genre known as tarātīl. Specifically, I explore the ambiguity between dying for one’s nation and dying for one’s faith as reflected in these religious nationalist anthems. How do song motifs negotiate ambivalences and seemingly contradicting desires to belong to an Egyptian nation and a heavenly afterlife as pious Christians? This article analyses songs of death as modes of political belonging and civic (dis)engagement.
Abstract: The Lisu of south-west China were evangelised a hundred years ago by missionaries from the China Inland Mission and adopted Christianity in a people movement that permeated nearly their entire society. The missionaries recognised that the Lisu were a singing people, and translation of a hymnbook proceeded apace together with translation of the New Testament. Further, many Western hymns were translated using Lisu poetic forms. These translated Western hymns not only became the centrepiece for worship, but were also part of the daily rhythm of life for Lisu Christians. Though the missionaries departed more than seventy years ago, the hymns, still sung a capella in four-part harmony, have remained. While the bible remains somewhat out of reach for the vast majority of Lisu peasant farmers with low reading and writing skills, the hymnbook is well-known and well-worn, its contents easy to find and many of its most familiar hymns memorised. The various functions the hymns provide for Lisu Christians overlap and intersect at various levels of meaning and experience, which can be encapsulated into one central understanding: the Lisu hymns serve as a theological mediator for Lisu Christians, bridging the gap between the text-intensive religion that is Christianity and the oral world of Lisu culture. In the everyday arena, in the practical living out of what it means to be a Christian for a communal and still largely oral-preference people such as the Lisu, the Lisu Christian hymns are the centrepiece of worship and devotion, prayer and penitence.
Abstract:The Lisu of southwest China were evangelized 100 years ago by missionaries from the China Inland Mission, and adopted Christianity in a people movement that permeated nearly their entire society. But despite the missionaries’ creation of a Lisu written language, translation of the Bible into Lisu, and elevation of Scripture as the focal point of Christian devotion, Lisu culture remained heavily oriented toward oral thought patterns. While the Lisu viewed their Bible as the authoritative Word of God, they read it only in ritualistic contexts, and not for personal Bible study or in devotional settings.
This led to the question: how can Christianity, with its long literate tradition and its focus on the written Scriptures, be sustained among a people who have the Bible, but do not read it? A people whose thought patterns and behaviors are primarily oral? How are the more abstract theological concepts—such as grace, sanctification, and forgiveness—of such a religion as Christianity that highly values the written word, translated into the oral context of the Lisu?
For the Lisu, such biblical abstractions are mediated through song. The hymnbook was the bridge between the written Word as sacred object, and the lived, spoken, and sung words of the people. If the Lisu Bible was an icon, sacred and revered, the hymnbook, the second item in this two-book set, was the religious handbook. Singing the written words of the hymns brought the two realms—oral and literate—together.
The various functions the hymns provide for Lisu Christians overlap and intersect at various levels of meaning and experience, which can be encapsulated into one central understanding: The Lisu hymns serve as a theological mediator for Lisu Christians, bridging the gap between the text-intensive religion that is Christianity, and the oral world of Lisu culture.
Excerpt: Considering the prominence of gospel music in Ghana’s public sphere (see also Atiemo 2006; Carl 2012 and 2013; Collins 2004 and 2012), as well as the central place it occupies in Charismatic worship itself, this article explores gospel music performance at the interface of ritual and media.1 I particularly focus on the interrelationship between the performance practices of congregational worship and the mediated performances that inhabit Ghana’s mediascape in various audiovisual formats. Existing studies understand Charismatic expressive culture in Ghana as a “conversion to modernity” (Marshall-Fratani 1998: 286; cf. Dilger 2008; Meyer 1999), as cathartic relief (Collins 2004), or in terms of the indigenization of Christianity (Amanor 2004 and Atiemo 2006). Instead, I argue for approaching this culture as ritual performance, as a form of mimesis that involves embodied patterns of ritualized behavior as well as playful improvisation and that serves, in this way, as a medium of self-creation and self-transformation, what, with reference to anthropologist Thomas Csordas (1990 and 1994), I call the ritualization of the self (see also Butler 2002 and 2008). In doing so, I want to contribute to the understanding of an aspect of Ghanaian popular culture that has so far received relatively little attention. Additionally, I want to add to the more detailed study of Charismatic ritual in general which, as Joel Robbins remarked, “despite its widely acknowledged importance, […] is notably scarce in the literature” (2004: 126).
Abstract: Christians in the Middle East have traditionally clustered around cities. As minorities in a Muslim majority context, difference manifests itself in many ways. In recent decades, the sounds of the city, in the form of calls to prayer from minarets and church bells, have increased, while green and blue lighting likewise crafts a plural setting that is not only audible but visible to all. In this article, I explore Christian ways of inhabiting the city in Damascus, Syria. The orchestration of space is intensifying as the region appears to be becoming an ever more vulnerable place to live for a Christian minority. I argue that an anthropological engagement with Christianity may do well to listen to the particular refrains that are formed in and of the city. Such an engagement attests to the ways in which Christianity is lived in particular locations but also how Christianity is continuously made to matter.