Religions

Research

22 pages, 251 KiB

Open AccessArticle

The Precedent for Vernacular and Multilingual Liturgies in the Catholic Church in Latin America

by Adán Alejándro Fernández

Religions 2025, 16(5), 586; https://doi.org/10.3390/rel16050586 - 2 May 2025

Viewed by 249

This paper examines the emergence of vernacular liturgies in Latin America, particularly through the incorporation of folk music in Nicaraguan Masses following the Second Vatican Council (Vatican II). In response to the Romanization of the Catholic liturgy in the nineteenth century, folk songs [...] Read more.

This paper examines the emergence of vernacular liturgies in Latin America, particularly through the incorporation of folk music in Nicaraguan Masses following the Second Vatican Council (Vatican II). In response to the Romanization of the Catholic liturgy in the nineteenth century, folk songs in local languages became a form of theological and cultural resistance, offering an alternative to the Latin-dominated liturgical tradition. Despite Vatican disapproval of certain Mass settings due to their non-traditional texts, these vernacular liturgies transcended their missionary origins, enriching both devotional practice and theological discourse. The study explores key Vatican II documents on liturgical participation, examines the role of liberation theology in framing vernacular and multilingual Masses as tools for social and religious transformation, as well as historical precedent as a lens for understanding the progression of change in the setting of the Mass, particularly in Latin America. Using the Misa Campesina, by Carlos Mejía Godoy, as a case study, the paper demonstrates how Nicaraguan folk Masses embody the intersections of ecclesial reform, cultural identity, and social justice within the broader context of Latin American liturgical innovation. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

18 pages, 613 KiB

Open AccessArticle

Multilingual Singing in Nigeria: Examining Roles, Meaning, and Function in Wazobia Gospel Music

by Adekunle Oyeniyi

Religions 2025, 16(1), 4; https://doi.org/10.3390/rel16010004 - 24 Dec 2024

Viewed by 1289

Abstract

This article presents an introductory historical, sociolinguistic, and ethnographic study of “Wazobia gospel music”, a twenty-first-century Nigerian congregational musical genre. The term ‘Wazobia’ signifies a fusion of the three regionally recognized local languages in Nigeria: Wa (Yorùbá), Zo (Hausa), and Bia (Igbo)—words that [...] Read more.

This article presents an introductory historical, sociolinguistic, and ethnographic study of “Wazobia gospel music”, a twenty-first-century Nigerian congregational musical genre. The term ‘Wazobia’ signifies a fusion of the three regionally recognized local languages in Nigeria: Wa (Yorùbá), Zo (Hausa), and Bia (Igbo)—words that mean ‘come’ in the respective languages. In the Nigerian context, the Wazobia concept could also symbolize the inclusion of more than one ethnicity or language. By dissecting three multilingual Nigerian congregational songs, I unveil the diverse perceptions of Wazobia gospel music and the associations of the musical genre in line with the influencing agencies, text, and performance practices. Furthermore, I provide a detailed description and analysis of the textual and sonic contents of Wazobia gospel music, emphasizing its roles, meanings, and functions in the Lagos congregations context. I argue that Wazobia gospel music—multilingual singing in Nigerian churches—embodies multilayered roles in negotiating identity and creating hospitality. The complexity of studying congregational singing in cosmopolitan cities (like Lagos, Nigeria) due to multiple ethnolinguistic and musical expressions within local and transnational links is also addressed. To tackle this complexity, this article adopts an interdisciplinary approach, combining historical research, oral history, and hybrid ethnography. This approach ensures a thorough and in-depth understanding of Wazobia gospel music, a topic of significant importance in the study of Nigerian music, linguistics, and cultural studies. By employing frameworks of musical localization and signification, I incorporate the results of my ethnographic studies of three Protestant churches in Lagos, Nigeria, to illustrate Wazobia gospel music’s continued importance. The article conceptualizes multilingual singing and offers fresh perspectives on studying Nigerian Christian congregational music in the twenty-first century. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

► Show Figures

Figure 1

11 pages, 278 KiB

Open AccessArticle

Multilingual Complexities in the Origins and Development of the Harrist Movement and Its Worship Patterns in Ivory Coast

by James R. Krabill

Religions 2024, 15(9), 1128; https://doi.org/10.3390/rel15091128 - 19 Sep 2024

Viewed by 1021

Abstract

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 10,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only [...] Read more.

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 10,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only English and his own local Liberian Glebo language. He was therefore compelled to work through expatriate English-speaking merchants, knowledgeable of and conversant in local languages, as interpreters and translators in addressing the twelve ethnic groups who heard and accepted his message. Harris encouraged new converts to compose hymns in their own indigenous languages by transforming musical genres embedded in their local musical traditions. Additionally fascinating is that during this early colonial period, the twelve ethnic groups impacted by Harris’s ministry lived in almost total isolation from each other and developed their own hymn traditions for thirty-five years (1914–1949), unaware of the existence of churches and worship patterns in neighboring ethnic districts. Only in 1949 did they suddenly become acquainted with the broader, multi-musical, multilingual reality of the Harrist movement. Since then, individual musicians and choirs from local congregations have gradually begun to sing a few of each other’s songs, though the challenge of becoming a truly multicultural, multiethnic church remains a work in progress. Documentation of these developments include written colonial and early Protestant and Catholic missionary sources and a large number of eye-witness interviews. Primary research methods employed here come from four intersecting disciplines and theoretical frameworks: orality studies, with particular focus on oral sources in constructing historical narrative; religious phenomenology; mission history; and ethnodoxological research. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

19 pages, 292 KiB

Open AccessArticle

Cultural Expression and Liturgical Theology in the Worship Songs Sung by British-Born Chinese

by James Yat-Man Tang and Jeremy Perigo

Religions 2024, 15(9), 1054; https://doi.org/10.3390/rel15091054 - 29 Aug 2024

Viewed by 1981

Abstract

Multilingual and multicultural worship can take on many models and expressions. Initially, Chinese immigration to the UK in the 1950s and 1960s led to an increased population of churches. Many Chinese church services were conducted in Cantonese, catering to the needs of first-generation [...] Read more.

Multilingual and multicultural worship can take on many models and expressions. Initially, Chinese immigration to the UK in the 1950s and 1960s led to an increased population of churches. Many Chinese church services were conducted in Cantonese, catering to the needs of first-generation immigrants, mainly from Hong Kong. Yet, the children of these older generations grew up with a bicultural hybridized identity expressed first in small English-speaking youth groups that led to English-speaking worship services within Chinese churches. Contributing to the field of worship studies through music repertoire studies over four weeks in June and July 2017 at Birmingham Chinese Evangelical Church, we raised the following questions: (1) what do the chosen worship songs represent with regards to the liturgical theology and cultural expressions of this community and (2) how is self-perception and perception of the divine expressed in the lyrical themes of these songs? Our study revealed that singing English songs from the West dominated the corporate liturgical identity of these services. Yet, through a British-born Chinese evangelical cultural reading, some lyrical themes were particularly resonant within Chinese culture, such as honor, shame, reverence, and bowing. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

9 pages, 1281 KiB

Open AccessArticle

Multicultural Worship in the Song of Zechariah and Contemporary Christian Worship

by Jordan Covarelli

Religions 2024, 15(8), 976; https://doi.org/10.3390/rel15080976 - 12 Aug 2024

Viewed by 906

Abstract

This article explores the ethics of “speaking” the artistic languages or idioms of diverse cultures in the earliest Christian communities. This article presents a key New Testament text, the Song of Zechariah (the Benedictus in Luke 1:68–79), as a poetic text meant for [...] Read more.

This article explores the ethics of “speaking” the artistic languages or idioms of diverse cultures in the earliest Christian communities. This article presents a key New Testament text, the Song of Zechariah (the Benedictus in Luke 1:68–79), as a poetic text meant for communal performance and examines that cultural phenomenon through the lens of “musical caring” to examine the meaning such a poetic phenomenon has for modern Christian life and worship. First, I will briefly summarize the evidence for the Song of Zechariah as a lyrical poem containing the artistic “multilingualism” of both Hebrew and Greek poetic idioms. Then, I will assess such an artistic communal expression in its first-century context with Myrick’s concept of musical caring, broadened to allow for uncertainty of the Song of Zechariah’s first-century performance methods. Finally, I will consider the twenty-first-century implications or lessons from such care and inclusivity in the first century. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

16 pages, 521 KiB

Open AccessArticle

“I Thought It Was Beautiful; I Just Wish I Could Understand It”: The Awkward Dance of Multilingual Worship

by Marcell Silva Steuernagel

Religions 2024, 15(5), 611; https://doi.org/10.3390/rel15050611 - 16 May 2024

Viewed by 1459

Abstract

This article explores strategies for planning and leading multilingual worship. It offers an overview of translation and multilingualism for readers unfamiliar with the growing body of scholarship in these fields and connects them to the role of translation and multilingualism in Christian worship, [...] Read more.

This article explores strategies for planning and leading multilingual worship. It offers an overview of translation and multilingualism for readers unfamiliar with the growing body of scholarship in these fields and connects them to the role of translation and multilingualism in Christian worship, leveraging decolonial perspectives to critique its history. This article draws from a data set of approximately 40 liturgies designed for the Course of Study School of the United Methodist Church at Perkins School of Theology, Southern Methodist University. It uses selections from these liturgies to demonstrate how issues of translation and multilingualism might be dealt with in worship planning and leadership. Finally, the article points to possibilities for further exploration at the intersection between Christian worship and multilingualism. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

► Show Figures

Figure 1

13 pages, 210 KiB

Open AccessArticle

Understanding “Love” in the English Lyrics of the Original Songs by the Multilingual New Creation Church Singapore

by H. Leng Toh and Daniel Thornton

Religions 2024, 15(5), 603; https://doi.org/10.3390/rel15050603 - 13 May 2024

Viewed by 1185

Abstract

This article explores the way in which love is understood and expressed through the original English lyrics of songs by New Creation Church Singapore (NCC) in comparison to the original songs from Hillsong Church Australia (Hillsong) through the period of 2014–2020. While NCC [...] Read more.

This article explores the way in which love is understood and expressed through the original English lyrics of songs by New Creation Church Singapore (NCC) in comparison to the original songs from Hillsong Church Australia (Hillsong) through the period of 2014–2020. While NCC has a multilingual congregation, reflective of the larger Singaporean society, it composes and releases original contemporary congregational songs (CCS) with English lyrics. English is the primary language in Singapore; however, it is shaped by the languages spoken in homes (e.g., Mandarin, Malay, Tamil). Combined with the theological emphases of NCC, its CCS provide a unique lens into English as a common language of worship. This article demonstrates that while the use of English lyrics is a unifying force for multilingual congregational worship, it is also not benign, but actively shaping Christian confession and associated theology and being shaped by wider multilingual contexts. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

14 pages, 760 KiB

Open AccessArticle

The Music of the Silent Exodus: Nunchi Bwa-ing and Christian Musicking in a Second-Generation Asian American Church

by Kathryn Minyoung Cooke

Religions 2024, 15(2), 244; https://doi.org/10.3390/rel15020244 - 18 Feb 2024

Viewed by 2335

Abstract

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the “silent exodus”. This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally [...] Read more.

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the “silent exodus”. This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally relevant care that would enrich their ethnic, national, and spiritual identities. Glory, the church of focus in this study, was founded by and is home to many silent exiles. In hopes of being an enriching church for second-generation Asian Americans, pastoral staff and leaders have created spaces within Glory for racial identity and faith to be in conversation with one another. However, in regard to the music of the church, they were stumped on what could be done to make it uniquely and proudly Asian American. This conundrum inspired a key question in this study: What is distinct about the way that Asian Americans worship God through music? This study argues that the worship music at Glory Church is distinctly Asian American not by what is sonically perceived, but rather by what is physically performed and collectively experienced. The Korean-English, or Konglish, term nunchi bwa-ing (눈치 봐-ing) is utilized as a keyword to describes Christian musicking in a multilingual setting and foregrounds the Korean/Asian American worshiping body. This study concludes by looking forward and arguing that Asian Americans ought to amplify their worship music to the larger Contemporary Worship Music scene as it has the potential to be a powerful site of intergenerational healing. Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

15 pages, 251 KiB

Open AccessArticle

Multilingualism and Interculture in the Repertoire Proposed in Hymnals from 2000 to Today: A Study on Italian Protestant Churches

by Alberto Annarilli

Religions 2024, 15(2), 169; https://doi.org/10.3390/rel15020169 - 30 Jan 2024

Viewed by 1650

Abstract

In the last twenty years the Baptist, Methodist, and Waldensian churches in Italy have experienced an important season of migrations, mainly from South America, South-east Asia, and West Africa. This has led to a problem of sharing and mutual influence on the liturgical [...] Read more.

In the last twenty years the Baptist, Methodist, and Waldensian churches in Italy have experienced an important season of migrations, mainly from South America, South-east Asia, and West Africa. This has led to a problem of sharing and mutual influence on the liturgical and musical levels for Italian churches that they had never experienced before. This article intends to study the editorial proposals of hymnbooks published by the Baptist, Methodist, and Waldensian churches in Italy. How many and which hymnals have been published from an intercultural point of view? Are the proposed repertoires transcultural? How many and which languages have been used in the publications? These three Protestant denominations have used different models for migrant churches. Another important aspect is the translation of the hymns: what language is used, and how certain words, images and theological ideas are made. The article, also using the methods of ethnographic field research, will be enriched by graphs which will show, for each denomination, which hymnographic repertoires were preferred and which vehicular languages were most used (and if this happened). Full article

(This article belongs to the Special Issue Multilingualism in Religious Musical Practice)

Journal Menu

Journal Browser

Multilingualism in Religious Musical Practice

Share This Special Issue

Special Issue Editors

Special Issue Information

Keywords

Benefits of Publishing in a Special Issue

Published Papers (9 papers)

Research

Further Information

Guidelines

MDPI Initiatives

Follow MDPI