After an introduction and views on inculturation (i.e. adapting the liturgy to the context within which it is ‘performed’ or the context influencing the liturgy), the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come from different contexts, such as the impact of the Karoo landscape on Khoisan descendants singing the sacred; performances in a contextualised music idiom, such as the Genevan Psalms in a Khoi music idiom; and celebrating the Church Year in different hemispheres. The discussion focuses also on contextualising within political contexts – that is, where political space is ‘sacralised’ through sacred songs and where sacred songs are given political meaning or changed for the political sphere. The article closes with the possibility of songs from Africa being sung in other countries and the meaning it could have, or could be given. It is argued that contextualisation from one context to another context of the sacred, or from a ‘secular’ to a sacred context, as well contextualising the sacred into the public (‘secular’) or political sphere, could lead to contexts and spaces being changed, enrich the performance of the sacred, stimulate creativity, allow for new processes of attributing meaning, change values and motivate people, form new identities and thus also could lead to changed communities.

Hymns are commonly sung in the public space of worship. They often also function in other public as well as private spheres. Religious singing in public spaces forms bridges between personal faith, the church, and public Christianity, while at the same time also forming bridges to a pluralist, secular, and post-secular society. I depart from the premise that the singing of hymns in the public sphere constitutes a form of religion lived in public. When the singing is reflected upon and discussed in public, also in social media, it can be seen as a form of public theology. Aspects of the reception histories and narratives of hymns, functioning in the wider public sphere in various countries and in various contexts and times, are discussed with regard to the possible functions that the singing could fulfil in these contexts. It is shown that hymnody forms a part of the beliefs, self-concepts, values, symbols, identities, ideologies, instruments of power, sets of myths, and the collective cultural memory of people.

A new Metrical Psalter in Afrikaans: Premises, policy, problems. For almost twenty years a commission of the Afrikaans-speaking Dutch Reformed churches has been working on a new metrical Psalter. The policy of versifying the Biblical texts is rigid and in many instances theologically outdated. The primary problems are the principle of a reproductive versification, a versification in one form and style, the lack of a hermeneutical approach, the question whether all 150 Psalms need to be reproduced anew and the lack of a proper liturgical function of many of the texts.

Actions in the worship service: Enriching liturgy through musicThe worship service in the Reformed Churches in South Africa has of late come under pressure. On the one hand it is experienced as too rigid and “traditional”. On the other hand superficial forms of renewal create tension. In this article the worship service and the meaning of the liturgical actions in the worship service of the Afrikaans Reformed Churches are discussed, and related to world-wide ecumenical tendencies. It is argued that certain liturgical actions are a necessary part of the ritual of the worship service. The structure needs inner logic, although there should also be some degree of flexibility. Hymns and music offer the means for a more creative presentation of liturgical actions and traditional forms. Suggestions to enrich the liturgy through the use of hymns and liturgical forms in the Liedboek van die Kerk (2001) are offered.

<strong>Communicating faith creatively through music</strong><p>The question of music ministry has become a focal point in the Dutch Reformed Church. The debate arises primarily from discontent about rigid and uninspired musical practices in the church. These practices are promoted and affirmed by one-sided theological views, according to which the spoken word as God's Word, is over-emphasized, and proclamation through music and other means is denied. In some Reformed churches this one-sidedness led to responses in the form of a music ministry with new one-sided approaches. In this article it is argued that music, singing and other forms of art need to be recognized and promoted as ways of communicating the Gospel on various levels. An encompassing strategy for creative communication of the faith within a more active liturgy needs to be developed. Liturgists need to be well-trained for such an encompassing task.</p>