Abstract: In this article, I explore the power dynamics at play in religious place‐making. I critically discuss the uneven co‐configurations of imaginaries of the ‘local’ and ‘global’ within global evangelicalism. Specifically, I analyse the recent recording of a live album by the famous charismatic Australian band Hillsong United (of Hillsong Church) at various locations in Israel‐Palestine, which was followed by a concert tour in Israel. Palestinian evangelical Christians were critical of this endeavour, for they felt that it marginalized and excluded them from their global evangelical faith family. The frictions between the Palestinian evangelical community and Hillsong United illustrate how dominant evangelical actors create an imagination of the ‘local’, which enters the imaginary of global evangelicalism (and bears material consequences). In the article, I thus argue that privileged financial and cultural resources and travel regimes lead to specific notions of geometries of power in global evangelicalism.
Description: What does it mean for music to be considered local in contemporary Christian communities, and who shapes this meaning? Through what musical processes have religious beliefs and practices once ‘foreign’ become ‘indigenous’? How does using indigenous musical practices aid in the growth of local Christian religious practices and beliefs? How are musical constructions of the local intertwined with regional, national or transnational religious influences and cosmopolitanisms?
Making Congregational Music Local in Christian Communities Worldwide explores the ways that congregational music-making is integral to how communities around the world understand what it means to be ‘local’ and ‘Christian’. Showing how locality is produced, negotiated, and performed through music-making, this book draws on case studies from every continent that integrate insights from anthropology, ethnomusicology, cultural geography, mission studies, and practical theology. Four sections explore a central aspect of the production of locality through congregational music-making, addressing the role of historical trends, cultural and political power, diverging values, and translocal influences in defining what it means to be ‘local’ and ‘Christian’. This book contends that examining musical processes of localization can lead scholars to new understandings of the meaning and power of Christian belief and practice.