Klassen & Lofton, “Material Witnesses: Women and the Mediation of Christianity”

Klassen, Pamela and Kathryn Lofton. 2013. “Material Witnesses: Women and the Mediation of Christianity.” In Media, Religion and Gender: Key Issues and New Challenges, edited by Mia Lövheim, 52-65.  New York: Routledge.

Excerpt: “Christian identity is inextricable from gender identity. Throughout Christian history, determining how individuals incarnate divine authority has been critical to the communication and legitimation of Christian testimonies. What can the words emanating from a particular physical body signify for the broader social movements that have fuelled Christianity? Evaluating such testimony might even b3e understood as the original practice of Christianity, insofar as the witness of a single male, Jewish body provided its genesis as a sectarian movement, and insofar as disagreements over subsequent witnesses and their ecclesiastical legitimacy became the grounds for nearly every denominational discord, theological innovation and mystical experimentation with that diverse tradition. Whether it was Peter appraising Mary Magdalene, Hilarianus adjudicating Perpetua, or John Winthrop assessing Anne Hutchinson, refereeing a witness’s testimony has been a primary task of (male) ecclesial authorities. Knowing whether (and how) you, as a particular embodied witness, have the right to speak about God (and what it means when you do) has encouraged the grand diversity of Christian expression . . . In this chapter, we consider how women have utilized various media to channel and articulate their testimonies in twentieth- and twenty-first-century North American contexts, paying specific attention to the connection between mediation and materiality. We argue that there seems to be a particularly comfortable connection between the material witness of women and the intimate commodification of their living scripts.”

Blanton “TV Prayer”

Blanton, Anderson. 2013. “TV Prayer.” Reverberationshttp://forums.ssrc.org/ndsp/2013/04/10/tv-prayer/

Excerpt: A pivotal moment in the technological history of prayer occurred when Oral Roberts introduced the motion picture camera into the charismatic atmosphere of his massive “tent cathedral.” Through the medium of television, millions of Americans experienced performances of Pentecostal healing prayer for the first time. More than this, however, the motion picture film significantly altered the enthusiastic environment of the healing tent while organizing new sensorial and performative possibilities within the practice of prayer itself. From the first telecast in 1955, it is as if the mechanical eye of the camera gradually insinuated itself into the actions of the prayer line, drawing ever-closer to the intimate tactile contact between the patient and the healer. Through the zooming capacities of the cinematic eye, members of the television audience got an intimate view of the performance of healing prayer, including the vigorous gesticulations, bodily contact, and ecstatic countenances enlivened through this curative technique.

Brennan, “Take Control: The Labor of Immediacy in Yoruba Christian Music”

Brennan, Vicki. 2012. “Take Control: The Labor of Immediacy in Yoruba Christian Music.” Journal of Popular Music Studies 24(4):411–429.

Excerpt: “While an analytic focus on the semiotic techniques whereby media produce immediacy is crucial to analyzing the social processes by which those media are themselves made invisible in experience, such an analysis only goes so far in elucidating the “creativity and control of human subjects” that Eisenlohr argues is erased in such processes. Therefore, in this article, I emphasize the discipline and disciplining work as well as the ethical practices that make such cultural and social processes possible. I do so through an analytic emphasis on what I call the labor of immediacy, that is, the practices whereby human subjects discipline themselves and rehearse the necessary actions that allow the mediated nature of immediate religious experiences to disappear. I argue that the perceived spontaneity of musical performance as well as the practical techniques through which religious sound artifacts are performed in new contexts in order to produce connections and circulate values, all rest on this labor of immediacy.

More specifically, in this article, I examine the labor of immediacy that underlies the use of sound recording and playback technology in facilitating and enhancing religious experiences and worship practices for members of the Cherubim and Seraphim Ayọ ni o Church in Lagos, Nigeria. The Ayọ ni o Church is a branch of the Cherubim and Seraphim Church Movement—a form of Yoruba independent Christianity. This movement began in colonial Nigeria, when early Yoruba Christians broke away from mission churches to establish congregations of their own. The Cherubim and Seraphim emphasized healing through prayer, Holy Spirit baptism, and charismatic forms of worship that featured the extensive use of music and dance. The Ayọ ni o Church is located in a large compound at the edge of Surulere, a predominantly Yoruba, middle-class suburb of Lagos. Each Sunday more than three thousand people attend worship services at the Ayọ ni o Church, many of them attracted by the church’s reputation for including spiritually powerful and emotional musical performances in their worship. This musical reputation was enhanced by the Ayọ ni o choir’s commercially produced and distributed recordings, along with the music videos and other promotional materials that support their recordings.

More than thirty albums have been recorded by the Ayọ ni o Choir since 1978. These recordings reproduce and circulate aesthetic values central to producing religious belonging and ethical forms of personhood. As I discuss in more detail below, the recordings thus play an important role in the everyday religious practices of church members. However, the recordings did not replace live musical performance during worship services. While worship without instruments—no guitars, keyboard, or even drums—was acceptable, worship without singing was inconceivable. The idea that there were living people in the same space as oneself, participating in a shared musical ritual, was important for ensuring the success of worship both in terms of its ability to provoke appropriate emotional responses from the congregation as well as in terms of attracting the Holy Spirit to enter the worship space. Therefore, while the songs on the recordings played an important role in church worship, they were always represented in the form of live performance.

In order to analytically detail the labor of immediacy that underlies and produces religious musical experiences for church members, I explore here how the recordings are used by choir musicians in their everyday lives, in individual musical practice, and in rehearsals. I describe how through the musical labor of training, practice, and rehearsal the choir members engage with the recordings in order to regulate affective and emotional responses and expressions during church worship. Their recontextualization of previously recorded songs does important spiritual work for church members by creating links between aesthetic and religious values and allowing those values to be recirculated through the community. While such performances may seem spontaneous in the context of church worship, in order for the recontextualization of a previously recorded song to be successful in achieving the spiritual goals of the congregation, a great deal of planning and work takes place.

In this article, I explore how the work of choir musicians during practice and rehearsals makes possible the recontextualization of recorded sounds during Yoruba Christian worship. Through disciplinary practices of listening and music-making that make use of the recordings, church musicians attune themselves to particular modes of behavior and produce appropriate forms of emotionality. These emotional responses can then be summoned contextually by church members in relation to a given situation. As I suggest in the conclusion of this article, these disciplined forms of emotion and embodiment are seen as necessary to survive and thrive in the midst of the uncertainty provoked by the political and economic transitions taking place in contemporary Nigeria.”

Blanton, “Appalachian Radio Prayers”

Blanton, Anderson. 2012. Appalachian Radio Prayers: the prosthesis of the Holy Ghost and the drive to tactility. In Radio Fields: Anthropology and Wireless Sound in the 21st Century, edited by Lucas Bessire and Daniel Fisher, 215-232. New York: NYU Press.

Publisher’s Description of the Volume:

Radio is the most widespread electronic medium in the world today. As a form of technology that is both durable and relatively cheap, radio remains central to the everyday lives of billions of people around the globe. It is used as a call for prayer in Argentina and Appalachia, to organize political protest in Mexico and Libya, and for wartime communication in Iraq and Afghanistan. In urban centers it is played constantly in shopping malls, waiting rooms, and classrooms. Yet despite its omnipresence, it remains the media form least studied by anthropologists.
 
Radio Fields employs ethnographic methods to reveal the diverse domains in which radio is imagined, deployed, and understood. Drawing on research from six continents, the volume demonstrates how the particular capacities and practices of radio provide singular insight into diverse social worlds, ranging from aboriginal Australia to urban Zambia. Together, the contributors address how radio creates distinct possibilities for rethinking such fundamental concepts as culture, communication, community, and collective agency.

de Witte, “Touched by the Spirit”

de Witte, Marleen. 2011. Touched by the Spirit: Converting the Senses in a Ghanian Charismatic Church. Ethnos 76(4): 489-509.

Abstract: This article discusses the bodily mass reproduction of divine touch in Ghanaian charismatic Pentecostalism and argues for an understanding of conversion as an ongoing bodily process that ‘tunes’ the senses to specific sensory experiences. Presenting a case study of the International Central Gospel Church in Accra, it asks how the church’s explicit appeal to the body relates to its strong suspicion of bodily mediation and its ideology of conversion as an inner transformation of the spirit and only secondarily of the body. It shows that the learning of the church doctrine that grounds born-again subjectivity in spontaneous and immediate experiences of being touched by the Holy Spirit goes together with repeated performance and gradual embodiment of sensory and bodily ‘formats’ that evoke such experiences, but also raise concerns about their authenticity.