© 2018 – Routledge
270 pages | 19 B/W Illus.
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.
'Inter-disciplinary research projects are difficult to undertake. I want to congratulate the authors in this book for taking up this significant effort of investigating the music making efforts of local Christian communities drawing on methodological parameters both in and beyond their ethnomusicological arena. The resulting effort of crossing boundaries to undertake this work is most admirable and noteworthy.'
Lim Swee Hong (???), Deer Park Associate Professor of Sacred Music, Emmanuel College, University of Toronto, Canada
Introduction: Music as local and global positioning: how congregational music-making produces the local in Christian communities worldwide
Monique M. Ingalls, Muriel Swijghuisen Reigersberg and Zoe C. Sherinian
Part I: Engaging musical pasts: continuity and change in congregational song practices
1 The saints who sing and dance: enchanting subjunctive visions in Southeast Brazil
Suzel Ana Reily
2 Indigenizing Navajo hymns: explaining the fame of Elizabeth and Virginia
Kimberly Jenkins Marshall
3 Give us a piece of that Old Time Religion: why mainline Protestants are (re)claiming an evangelical musical heritage
Part II: Congregational music and the politics of indigeneity
4 Song as gift and capital: intercultural processes of indigenization and spiritual transvaluation in Yolngu Christian music
5 Performing glocal liturgies: the Second Vatican Council and musical inculturation in East Africa
6 Inculturation, institutions, and the creation of a localized congregational repertoire in Indonesia
Part III: Rifts, reconciliation, and coexistence: congregational music-making in the diverse locale
7 Sounds of localisation in South African Anglican church music: some examples of transformation at the College of the Transfiguration in Grahamstown
8 Secular-sacred interface: The Lisu farmer chorus and the cultural politics of representation of minority culture in Yunnan’s Northwestern Nujiang Prefecture
9 Interreligious music networks: capitalizing on Balinese gamelan
Dustin D. Wiebe
PART IV: Christian musical cosmopolitanisms: producing the local across racial and national lines
10 Congregational song and musical ‘accommodation’ in a South African Lutheran parish
11 Mediating racial and spiritual difference in Harlem: Cocolo Japanese Gospel Choir and Convent Avenue Baptist Church
12 Sonic citizenship: rites and rights of belonging in Ireland
Afterword: On the anthropology of Christianity, the complexity of the local, and the study of Christian Congregational Music in global perspective
Congregational music-making is a vital and vibrant practice within Christian communities worldwide. Music can both unite and divide: at times, it brings together individuals and communities across geographical and cultural boundaries while, at others, it divides communities by embodying conflicting meanings and symbolizing oppositional identities. Many factors influence congregational music in its contemporary global context, posing theoretical and methodological challenges for the academic study of congregational music-making. Increasingly, coming to a robust understanding of congregational music's meaning, influence, and significance requires a mixture of complementary approaches. Including perspectives from musicology, religious and theological studies, anthropology and sociology of religion, media studies, political economy, and popular music studies, this series presents a cluster of landmark titles exploring music-making within contemporary Christianity which will further Congregational Music Studies as an important new academic field of study.